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Art  in  Los  Angeles      Seventeen  Artists  in  the  Sixties 


This  exhibition  was  made  possible  by  a  grant  from  The  James  Irvine  Foundation. 


Los  Angeles  County  Museum  of  Art  Maurice  Tuchman 


Art  in  Los  Angeles 

Seventeen  Artists  in  the  Sixties 


Library  of  Congress 
Cataloging  in  Publication  Data 

Art  in  Los  Angeles. 

Includes  bibliographies. 

1.  Art,  American— California— Los  Angeles — 
Exhibitions.     2.  Art.  Modern— 20th  century — 
California— Los  Angeles— Exhibitions,     L  Tuchman, 
Maurice.  IL   Los  Angeles  County  Museum  of  Art. 
N6535.L6A7  709'.794'94074019493        81-6003 

ISBN  0-87587-101-1  AACR2 


Published  by  the 

Los  Angeles  County  Museum  of  Art 

5905  Wilshire  Boulevard 

Los  Angeles.  California  90036 

Copyright  ©1981  by 

Museum  Associates  of  the 

Los  Angeles  County  Museum  of  Art 

All  rights  reserved 
Printed  in  the  U.S.A. 

Curatorial  liaison  for  the  publication: 
Stella  Paul 

Edited  by  Jeanne  D'Andrea, 
Stephen  West,  and  Aleida  Rodriguez 

Designed  in  Los  Angeles 
by  Louis  Danziger 

Text  set  in  Century  Schoolbook  typefaces 
by  RSTVpographics,  Los  Angeles 

Printed  in  an  edition  of  11.000  on 
Lustro  Offset  Enamel  Book  and  Warren's 
No  66  Antique  Bulking  papers  by 
George  Rice  &  Sons,  Los  Angeles 


Exhibition  Itinerary 

Los  Angeles  County  Museum  of  Art 
July  21-October  4, 1981 

San  Antonio  Museum  of  Art 
November  20,  1981-January  31,  1982 


Contents 


7  Foreword  by  Earl  A.  Powell  III 

7  Acknowledgments 

6  Lenders  to  the  Exhibition 

8  Introduction  by  Maurice  TUchman 

11       Herman  and  Kienholz:  Progenitors  of  Los  Angeles 
Assemblage  by  Anne  Bartlett  Ayres 

19      Los  Angeles  Painting  in  the  Sixties: 

A  Tradition  in  Transition  by  Susan  C.  Larsen 

25      The  Word  Made  Flesh:  L.A.  Pop  Redefined 
by  Christopher  Knight 

29       Visually  Haptic  Space:  The  Twentieth-Century  Luminism 
of  Irwin  and  Bell  by  Michele  D.  De  Angelus 

37  Color  Plates 

53  Catalog 

101  Exhibition  Histories  and  Bibliographies 

126  Chronology  of  Exhibitions:  1959-70  by  Stella  Paul 

162  TVustees  and  Supervisors 


Lenders  to  the  Exhibition 


Artist  Studio,  Venice,  California 

Betty  Asher 

Asher/Faure  Gallery,  Los  Angeles 

Larry  Bell 

Mrs.  Kathleen  Bleiweiss 

The  Brooklyn  Museum,  New  York 

Dartmouth  College  Museum  and  Galleries,  Hanover,  New  Hampshire 

Ronald  Davis 

Betty  and  Monte  Factor  Family  Collection 

Lynn  Factor,  Brentwood,  California 

Sir  John  Foster 

Sam  Francis 

Mr.  and  Mrs.  Philip  Gersh 

Oilman  Paper  Company  Collection 

Dr  and  Mrs.  Merle  S.  Click 

Hal  Glicksman 

Milly  and  Arnold  Glimcher,  New  York 

Dr.  and  Mrs.  Charles  Hendrickson 

Walter  Hopps,  Washington,  D.C. 

Robert  Irwin 

Judge  Kurtz  Kauffman 

Vivian  Kauffman 

Lyn  Kienholz 

Mr  and  Mrs.  Gilbert  H.  Kinney 

La  Jolla  Museum  of  Contemporary  Art,  California 

Collection  of  Frances  and  Norman  Lear 

Sydney  and  Frances  Lewis  Collection 

Los  Angeles  County  Museum  of  Art 

Milwaukee  Art  Center,  Wisconsin 

Edward  Moses 

Museum  of  Fine  Arts,  Boston 

The  Oakland  Museum,  California 

Mr  and  Mrs.  Richard  Jerome  O'Neill 

Giuseppe  Panza  di  Biumo,  Milan 

Mr  and  Mrs.  Morris  S.  Pynoos 

Mr  and  Mrs.  Jack  Quinn 

Hanna  Renneker 

Robert  Rowan 

Edward  Ruscha 

Santa  Barbara  Museum  of  Art,  California 

Mr  and  Mrs.  Henry  Shapiro,  Chicago 

Mr.  and  Mrs.  Stanley  K.  Sheinbaum 

Becky  and  Peter  Smith 

Dean  Stockwell 

The  Times  Mirror  Company,  Los  Angeles 

Dr.  Leopold  S.  Tuchman 

University  Art  Museum,  University  of  California,  Berkeley 

Whitney  Museum  of  American  Art,  New  York 

Laura-Lee  and  Bob  Woods 

Edward  and  Melinda  Wortz 

Anonymous  lenders 


Foreword 


Acknowledgments 


This  year  marks  almost  two  decades  since  Los 
Angeles  began  to  emerge  as  a  major  center  of  contempo- 
rary art.  It  also  marks  the  Los  Angeles  Bicentennial,  an 
occasion  that  prompts  the  Museum  to  present  this  two- 
part  exhibition:  Art  in  Los  Angeles — Seventeen  Artists  in 
the  Sixties  and  The  Museum  as  Site:  Sixteen  Projects.  The 
first  is  a  fresh  approach  to  group  shows  that  reveals  the 
extraordinary  achievement  of  seventeen  recognized  paint- 
ers and  sculptors  who  worked  in  Los  Angeles  in  the  six- 
ties. For  the  second  exhibition,  sixteen  Los  Angeles  artists 
who  have  achieved  recognition  in  the  last  decade  were 
invited  to  create  works  specifically  for  this  Museum's 
sites — both  conventional  and  nonconventional. 

During  the  sixties  an  unprecedented  number  of  art- 
ists began  to  mature  in  Los  Angeles,  bringing  to  the  city 
a  creative  impulse  that  has  permanently  defined  the 
community's  cultural  stance.  The  exhibition  Seventeen 
Artists  in  the  Sixties  calls  attention  to  the  rich  diversity 
of  artistic  activity  that  characterized  this  period.  The  oc- 
casion of  the  city's  bicentennial,  with  two  decades  of  per- 
spective on  this  fertile  period,  is  an  especially  appropriate 
time  to  present  a  selected  retrospective  of  some  of  Los 
Angeles'  major  artistic  talents. 

To  date,  this  most  fascinating  period  in  our  history 
remains  inadequately  documented.  With  the  exhibition 
and  its  accompanying  catalog,  the  Museum  attempts  to 
address  this  need.  The  Museum  has  collaborated  with  the 
West  Coast  Area  Center  of  the  Archives  of  American 
Art  in  commissioning  a  number  of  interviews  with  artists 
and  other  members  of  the  art  community  as  part  of  the 
Archives'  California  Oral  History  Project.  These  docu- 
ments constitute  an  invaluable  resource  for  both  scholars 
and  the  general  public.  The  Archives'  role  in  collecting 
and  microfilming  artists'  papers  is  certain  to  become  in- 
creasingly important  to  students  of  art  on  the  West  Coast. 

This  exhibition  could  never  have  occurred  without  the 
generosity  and  support  of  the  lenders.  We  wish  to  thank 
the  fifty-two  individuals,  museums,  corporations,  and  gal- 
leries who  have  contributed  to  the  realization  of  the  show. 
As  always,  the  Museum's  Modern  and  Contemporary  Art 
Council  has  supported  this  project  from  its  inception. 

We  are  especially  pleased  that  the  San  Antonio 
Museum  of  Art  is  participating  in  this  exhibition,  and 
are  appreciative  of  the  enthusiasm  and  support  of  its  new 
director,  Kevin  Consey. 

For  the  commitment  shown  by  the  James  Irvine 
Foundation,  which  has  made  this  exhibition  possible  as  a 
centerpiece  of  the  bicentennial  year,  we  are  especially 
grateful. 

Earl  A.  Powell  in 
Director 


Several  people  who  were  active  in  the  Los  Angeles 
art  community  during  the  late  fifties  and  sixties  gener- 
ously shared  their  experiences  with  me.  Discussions  with 
Betty  Asher,  Irving  Blum,  James  Elliott,  and  Nicholas 
Wilder  were  especially  valuable.  Christopher  Knight's 
comments  about  this  project  were  also  an  asset  in  the 
planning  stage. 

I  would  like  to  thank  those  people  in  the  Museum 
who  were  exceptionally  involved  with  this  project.  Cura- 
torial Assistant  Stella  Paul  was  my  principal  assistant, 
coordinating  all  matters  of  organization  of  the  exhibition 
and  catalog,  displaying  initiative  and  exceptional  effi- 
ciency. Stephanie  Barron,  Curator  of  Modern  Art,  was 
always  available  for  consultation.  Katherine  Hart, 
Assistant  Curator,  helped  us  with  the  myriad  details 
involved  with  the  final  stages  of  the  project.  Donna  Wong, 
secretary,  performed  diligently  and  tactfully.  Museum 
Service  Council  volunteer  Grace  Spencer  was  again 
indispensable  to  us  in  providing  archival  research 
materials.  I  would  like  also  to  cite  the  Photography 
Department,  under  the  direction  of  Larry  Reynolds,  for  its 
special  resourcefulness.  I  am  also  grateful  to  Lucille 
Epstein,  docent,  for  helping  us  assemble  a  research 
library  for  this  project.  Laura  Revness,  Deanna  de  Mayo, 
and  Robert  Pincus  gave  generously  of  their  time. 

Museum  Director  Earl  A.  Powell  ill  has  been  a  con- 
stant enthusiast  and  supporter  of  this  project. 

I  am  personally  grateful  to  the  Modern  and  Contem- 
porary Art  Council  for  the  unfailing  support  they  have 
provided  the  Department  of  Modern  Art  once  again  in 
the  course  of  organizing  this  exhibition. 

Maurice  TUchman 


Maurice  Tlichman 


Introduction 


Although  numerous  exhibitions  have  surveyed  the 
new  art  that  emerged  in  Los  Angeles  in  the  late  fifties, 
beginning  with  the  Whitney  Museum's  Fifty  California 
Artists  of  1962,  this  presentation  is  the  first  to  highlight 
what  actually  did  occur  rather  than  what  seemed  to  be 
developing. 

Given  a  necessarily  restricted  gallery  space,  two 
basic  procedures  were  possible:  an  exhibition  of,  say,  one 
hundred  works  by  the  same  number  of  artists — or  by 
fifty,  or  thirty — as  an  attempt  to  document  diverse 
statements;  or  a  show  that  would  focus  on  the  fewer,  out- 
standing figures  of  the  decade,  exhibiting  their  work  in 
depth.  I  have  chosen  the  second  method.  Further,  I  have 
emphasized  the  individuality  of  the  selection  by  showing 
work  that  falls  for  the  most  part  into  a  single,  specific 
phase  of  each  artist's  development  in  the  sixties.  By 
bringing  together,  for  example,  a  group  of  sprayed  paint- 
ings by  Billy  Al  Bengston  or  the  "two-lined"  abstract 
paintings  of  Robert  Irwin,  greater  insight  into  the  singu- 
lar achievement  of  each  artist  may  be  afforded  than 
would  be  possible  by  a  scattered  view  of  their  diverse 
modes  throughout  the  sixties.  Such  a  method  of  organiza- 
tion allows  the  viewer,  in  walking  through  the  exhibition, 
to  encounter  singly,  in  roughly  chronological  order,  artists 
such  as  John  McLaughlin,  Peter  Voulkos,  and  Wallace 
Berman  at  the  outset  of  the  decade,  through  a  dozen  art- 
ists of  the  mid-sixties,  to  Richard  Diebenkorn  and  Bruce 
Nauman  at  the  end  of  the  decade.  A  sense  of  progression 
and  change  is  implied.  Although  there  is,  of  course, 
nothing  magical  about  the  sixties  as  a  discrete  entity,  it  is 
nevertheless  demonstrably  true  that  the  late  fifties  in 
Los  Angeles  witnessed  a  surge  of  artistic  vigor  which  led 
some  artists  who  matured  in  the  sixties  to  attain  world- 
class  stature.  Although  these  artists  continued  to  create 
at  a  high  and  distinctive  level  in  the  seventies,  the  gen- 
eral parameters  of  their  work  were  established  by  1970.  It 
is  always  difficult  to  omit  serious  artists  of  real  value 
from  any  group  exhibition,  and  certainly  the  exclusion  of 
perhaps  thirty  artists  whose  achievements  have  already 
been  cited  by  the  Museum  with  solo  shows  and  acquisi- 
tions is  particularly  felt  on  this  occasion.  Such  omissions 
can  only  be  justified  by  the  successful  organization  of  an 
exhibition  of  exceptional  strength,  by  inclusion  of  artists 
whose  work  will  have  enduring  interest  and  importance 
in  art  history. 

All  of  the  artists,  or  their  representatives,  partici- 
pated in  the  selection  process,  often  interceding  with 
owners  of  their  work  to  secure  loans.  The  late  Wallace 
Berman  is  represented  by  all  his  early  extant  collages 
and  by  the  issues  of  Semina  he  produced  from  1955  to 
1964;  these  much  admired  collages  fused  the  mystical  and 
the  topical  and  placed  Berman,  as  Anne  Ayres  points 
out  in  her  essay  in  this  catalog,  at  one  end  of  California's 
assemblage  polarity,  with  Edward  Kienholz  at  the  oppo- 
site end.  By  the  late  fifties  John  McLaughlin's  pristine 
canvases  took  on  individual  force  and  commanded  respect, 
but  at  the  turn  of  the  decade  a  distinct  fulsomeness 
and  serene  authority,  reflected  in  the  use  of  fewer  and 
more  symmetric  forms  and  in  a  more  frequent  deploy- 


ment of  black  and  white  alone,  became  the  hallmarks 
of  his  style.  Peter  Voulkos,  who  influenced  most  of  the 
artists  in  the  Ferus  group,  both  as  sculptor  and  teacher, 
created  ceramic  sculpture  of  a  monumentality  and  vigor 
almost  unprecedented  in  the  medium;  indeed,  even  today 
the  "crafts"  connotation  of  the  clay  medium  unfairly 
serves  to  diminish  the  importance  of  these  works. 

In  this  catalog,  interpretation  and  appreciation  of  the 
work  of  Voulkos  and  of  the  younger  ceramic  sculptor 
Ken  Price  is  insufficiently  presented  largely  for  the  same 
reason.  Although  in  1978  I  wrote  on  Price's  monumental 
effort  of  the  seventies,  the  series  called  Happy's  Curios 
(Ken  Price:  Happy's  Curios,  exhibition  catalog,  Los 
Angeles  County  Museum  of  Art),  I  could  not  secure  an 
independent  art  historical  essay  for  the  present  catalog 
on  the  1960s  work  of  Voulkos  and  Price.  I  hope  the  inter- 
est generated  by  this  exhibition  will  result  in  much- 
needed  studies  of  these  artists.  Meanwhile,  the  reader's 
notice  is  called  to  John  Coplan's  1966  catalog  essay  for 
Abstract  Expressionist  Ceramics  at  the  Art  Gallery  of  the 
University  of  California  at  Irvine. 

Of  the  artists  associated  with  the  Ferus  Gallery, 
Irwin,  Price,  Bengston,  Moses,  Kauffman,  and  Kienholz 
are  each  represented  by  a  number  of  their  early  works. 
(They  are  also  seen,  as  are  the  other  participating  artists 
who  resided  in  Los  Angeles  in  the  late  fifties,  in  the  intro- 
ductory section  of  this  exhibition,  represented  by  signi- 
ficant works  made  just  prior  to  their  maturity. )  Kienholz 
developed  the  environmental  sculpture  format  he  titled 
"tableau"  with  the  powerful  recreation  of  a  brothel  called 
Roxys.  The  space  built  for  each  installation  accommo- 
dates the  furniture,  props,  and  individual  sculptures 
that  comprise  the  work;  later  the  artist  would  create 
a  container-like  space  with  immovable  parts,  as  in  The 
Beanery  where  we  witness  the  baroque  culmination  of 
the  assemblage  movement.  Although  neither  Roxys  nor 
The  Beanery  could  be  brought  to  Los  Angeles  for  this 
occasion,  Kienholz  is  well  represented  by  the  notorious 
The  Back  Seat  Dodge  '38  and  The  Illegal  Operation,  per- 
haps the  strongest  work  the  artist  has  made.  Sculptor 
Ken  Price  has  almost  nothing  in  common  with  Kienholz, 
except  for  a  shared  wizardry  of  technique  and  masterly 
craftsmanship.  It  is  this  stylistic  disparity  that  has  suc- 
cessfully defeated  efforts  to  label  these  artists.  Price's  egg- 
shaped  sculptures  of  about  1962  appear  as  miraculously 
"right,"  vulnerable  yet  strong,  cheerfully  accessible 
as  images  yet  uncannily  mysterious.  These  are  sculptor's 
sculptures,  appropriately  prized  by  artists  and  by  cogno- 
scenti. Robert  Irwin's  exquisite,  cerebral,  abstract  paint- 
ing is  seen  here  in  the  series  of  "two-line"  canvases  of 
1962,  works  that  challenge  the  viewer's  ability  to  see  an 
entire  field  whole.  Their  creation  led  Irwin  to  undertake 
still  more  difficult  artistic  tasks  later  in  the  sixties  and 
seventies.  These  paintings — justly  celebrated  now — an- 
ticipate Irwin's  pioneering  efforts  in  recent  years  to  trans- 
form public  spaces  by  seemingly  simple  alterations  of  the 
total  field  (whether  by  tapes,  scrim,  wire,  or  elementary 
structural  additions).  Bengston's  early  sprayed  paintings 
announced  a  veritably  new  aesthetic.  The  chevron  that 


instantly  became  famous  and  was  for  years  the  artist's 
trademark  was  both  as  unemotional  as  an  industrial 
technique  and  as  idiosyncratic  as  a  personal  symbol.  This 
fusion  of  tough-minded  artmaking  with  unabashed  aes- 
theticism  holds  for  all  the  members  of  the  Ferus  Gallery 
group,  including  Craig  Kauffman.  From  the  outset  one  of 
the  most  virtuoso  of  the  group,  Kauffman  is  here  repre- 
sented by  works  made  later  in  the  decade,  the  Bubble 
series  of  1966-  67,  in  which  plastic  is  made  to  appear  color- 
fully lush  and  sensuous,  with  the  forms  hinting  at  an 
odd  biological  origin.  Ed  Moses,  in  a  dazzling  series  of 
large  floral  drawings  made  in  1963,  reflects  his  fellow  art- 
ists' extraordinary  commitment  to  craftsmanship,  but  in 
the  most  traditional  of  techniques — graphite  on  paper 

Larry  Bell  and  Ed  Ruscha  came  to  the  Ferus  group  in 
the  early  sixties.  Bell  was  influenced  by  Irwin  (and  later 
affected  Irwin's  development)  in  his  ready  acceptance 
of  total-field,  geometric  concerns,  and  in  the  making  of 
sculptures — such  as  the  seven  cubes  in  this  exhibition  — 
that  welcome  pleasing  illusions  and  reflections  without 
abandoning  a  grave  mien.  Ruscha,  along  with  his 
friend  Joe  Goode,  struck  a  new  note  in  the  developing 
Los  Angeles  scene  with  works  referring  to  the  new  urban 
idiom  of  commercial  design.  Ruscha  redesigns,  as  it 
were,  the  styles  and  packages  of  a  consumer  society, 
filtering  them  through  his  ironic,  bemused  gaze.  Joe 
Goode's  work  was  more  stark  and  emotional  in  the  early 
sixties  than  Ruscha's,  but  equally  object-oriented;  later  in 
the  decade  Goode's  work  such  as  the  Vandalism  series, 
or  in  this  exhibition  the  Unmade  Bed  series,  reveals  an 
increasing  interest  in  the  devices  of  picture-making  (torn 
canvases,  the  incorporation  of  glass  and  frame  into  the 
image)  as  well  as  in  psychological  implications  that  go 
beyond  Pop  art's  usual  parameters. 

English  artist  David  Hockney  first  came  to  Los 
Angeles  in  1964,  and  it  has  frequently  been  his  residence 
since  that  time.  Los  Angeles  had  a  direct  impact  upon 
Hockney's  works,  as  evident  in  the  brilliant  portraits  and 
domestic  scenes  in  this  exhibition.  In  his  essay  on  Los 
Angeles'  version  of  Pop  art,  Christopher  Knight  points 
out  that  "things"  in  L.A.  took  hold  of  Hockney's  imagina- 
tion immediately  after  he  arrived  here;  interestingly, 
Hockney's  recent  Los  Angeles  paintings  may  be  seen  as 
an  effort  to  contend  with  the  glaring  light  that  has  been 
so  difficult  for  painters  of  nature.  The  quality  of  light 
in  Southern  California  also  played  an  important  role  in 
inducing  Richard  Diebenkorn  to  move  to  Los  Angeles 
in  1966.  His  justly  renowned  Ocean  Park  series,  named 
after  a  neighborhood  in  Santa  Monica  where  his  studios 
are  located  (an  area  that  also  provided  subject  matter  for 
earlier  artists,  such  as  John  Altoon  and  Robert  Irwin), 
intently  and  lyrically  addresses  the  particular  color, 
humidity,  temperature,  air  currents,  and  evanescent  light 
conditions  of  the  area.  Sam  Francis,  like  Diebenkorn, 
moved  to  Los  Angeles  as  an  established  artist  in  1967, 
thereby  further  contributing  to  the  city's  artistic  vitality 
in  the  second  half  of  the  decade.  Francis'  "open"  series  of 
paintings,  among  the  most  adventurous  abstract  works 
created  in  the  sixties,  exhibited  in  a  one-man  show  at 


this  museum,  is  also  a  direct  response  to  the  West  Los 
Angeles  ambience.  In  this  exhibition  a  less  well-known 
series  of  Sam  Francis  from  the  late  sixties  is  presented, 
characterized,  as  Susan  Larsen  writes,  by  "a  heavier, 
firmer  structure  alive  with  fluid,  glowing  pigment." 

Moving  south  to  Los  Angeles  from  San  Francisco  in 
the  sixties  were  two  exceptional,  dissimilar  talents: 
Ronald  Davis  and  Bruce  Nauman.  Davis  would  inject 
new  vitality  into  the  tradition  of  painting  per  se  by  trans- 
lating the  neglected  powers  of  perspective  with  new 
materials  and  techniques;  Nauman  would  radically  extend 
elements  of  body  and  performance  art,  videotape,  and 
environmental  concerns  into  a  personal  and  influential 
artistic  style  and  way  of  thinking.  Davis  is  represented 
here  by  works  from  one  outstanding  series  of  the  several 
he  created  in  the  sixties,  the  fiberglass  Dodecagons.  The  ex- 
hibition concludes  with  Nauman's  Video  Corridor:  Live 
and  Taped  (1969).  As  the  sixties  in  Los  Angeles  began  with 
a  polar  contrast — the  painting  of  McLaughlin  and  the 
assemblage  of  Berman — it  concluded  with  the  reaffirma- 
tion of  painting  by  Diebenkorn  and  Davis  and  the  ex- 
ploratory environments  of  Nauman. 

The  New  York  art  world,  stimulated  each  season 
beginning  about  1960  by  aesthetic  upheavals,  sought  to 
locate  a  common  denominator  in  the  style  of  new  artists 
emerging  on  the  opposite  coast.  Within  a  few  years  the 
term  "L.A.  Look"  came  to  be  applied  to  the  artists  iden- 
tified with  the  Ferus  Gallery  and  later  to  artists  who 
worked  with  glass  and  plastic  materials  integral  to  the 
impeccably  crafted  Los  Angeles  art  works.  Curiously,  this 
interest  in  California  developments  on  the  part  of  New 
Yorkers  did  not  include  any  great  sympathy  for  the 
artists  themselves.  Simultaneously,  however,  European 
museums  and  collectors  displayed  an  unprecedented 
interest  in  Los  Angeles  artists,  clearly  evident  from  ex- 
hibitions in  London,  Brussels,  Eindhoven,  and  Amsterdam, 
and  from  collections  such  as  that  of  Count  Panza  in 
Varese,  near  Milan. 

To  date,  the  most  significant  art  writing  on  this 
period  has  been  contributed  by  Los  Angeles  critics.  These 
writers  have  been,  as  may  be  expected,  involved  with  the 
artists  in  many  personal  ways,  whether  as  friends,  deal- 
ers, or  spouses.  Now,  however,  a  new  generation  of  art  his- 
torians, professionally  intrigued  but  personally  detached 
from  these  artists,  has  begun  to  address  basic  issues 
of  style  and  substance  in  a  less  biased  manner  In  this 
catalog  Susan  Larsen  and  Anne  Ayres,  dealing  with 
abstract  painting  and  assemblage  art  respectively,  seek  to 
characterize  the  salient  qualities  of  each  artist  and  the 
roots  of  his  expression.  Michele  De  Angelus  and  Chris- 
topher Knight  each  points  to  the  connections  between 
Los  Angeles'  "perceptualism"  and  its  Pop  art,  and  the 
nineteenth-century  American  Luminist  movement;  De 
Angelus  and  Knight  are  eager  to  dispel  the  "finish  fetish" 
appellation  applied  to  much  Los  Angeles  work.  Finally, 
Stella  Paul  has  compiled  a  photographic  chronology  of  the 
1960s  Los  Angeles  art  world. 

The  Museum  as  Site:  Sixteen  Projects,  to  open  July  21, 
1981,  is  an  exhibition  that  draws  upon  the  talents  of 


many  artists  who  developed  in  the  1970s.  Sixteen  of  these 
artists  were  approached  by  the  organizer  of  this  show, 
Curator  of  Modern  Art  Stephanie  Barron,  to  create  site- 
specific  works  throughout  the  Museum — interior  gallery 
areas,  the  B.  G.  Cantor  Sculpture  Garden,  the  Frances 
and  Armand  Hammer  Wing  and  Ahmanson  Gallery 
building  facades,  the  Atrium,  and  stairwells.  I  have  no 
doubt  this  exhibition  will  reveal  that  the  generation 
that  emerged  in  Los  Angeles  during  the  seventies  is  one 
the  city  can  be  deeply  proud  of  as  it  celebrates  its  two- 
hundredth  birthday. 

To  the  exhibiting  artists,  all  of  whom  cooperated 
fully,  to  the  catalog  essayists,  and  to  the  generous 
lenders  to  the  exhibition,  who  are  listed  individually, 
I  am  deeply  grateful. 


10 


Anne  Bartlett  Ayres 


Berman  and  Kienholz:  Progenitors  of  Los  Angeles  Assemblage 


That's  one  of  the  reasons  I  like  Los  Angeles,  because  Los 
Angeles  throws  away  an  incredible  amount  of  value  every 
day.  I  mean,  it's  just  discarded,  shitcanned.  From  au- 
tomobiles to  desks,  to  clothes,  to  paint,  to — you  know,  half- 
bags  of  concrete  that  are  hardened  up.  I  mean,  whatever  it 
is,  there  is  an  incredible  waste  in  the  city  of  Los  Angeles, 
and  if  you're  living  on  the  edge  of  the  economy  like  that,  all 
the  waste  filters  through  your  awareness  and  you  take  what 
you  want.  — Edward  Kienholz' 

It  has  been  twenty  years  since  the  art  of  constructing 
objects  from  the  preformed  "stuff"  of  the  actual  world 
was  baptized  assemblage  and  given  an  official  history 
grounded  in  twentieth-century  modernism.^  By  the  early 
sixties,  artists  of  this  alternative  medium  claimed  a 
mixed  heritage  that  included  reality/illusion  queries  and 
anti-art  gestures.  Modernism's  emphasis  on  the  thing- 
as-such  favored  the  found  object;  at  the  same  time,  its 
search  for  the  "reality"  beneath  the  gloss  of  civilization 
encouraged  the  incongruous  juxtapositions  of  Surrealism. 
Assemblage  was  on  the  cutting  edge  of  advanced  art.  But, 
always  an  ambiguous  medium,  it  also  was  given  legiti- 
macy by  modernism's  embrace  of  the  "primitive."  Assem- 
blage is  an  activity  congenial  to  tribal  and  folk-art 
conventions,  as  well  as  to  the  art  of  autodidacts,  children, 
and  disintegrated  personalities — to  those,  that  is,  who 
have  not  erected  rigid  boundaries  between  subject  and  ob- 
ject, reality  and  fantasy,  life  and  art,  plastic  and  literary 
means.  Assemblage  traditionally  attracts  the  aestheti- 
cally rebellious,  but  also  the  academically  untutored  and 
the  artist  in  pursuit  of  idiosyncratic  vision. 

In  early  American  modernism,  the  investigation  of 
mixed  media  that  emerged  from  Duchamp-influenced 
New  York  Dada  was  cold  by  about  1920.  Assemblage  of 
the  next  two  decades — in  the  work  of  its  most  noteworthy 
practitioners,  Arthur  Dove  and  Joseph  Cornell  —  indeed 
appears  idiosyncratic.  Dove's  work  is  a  good  example 
of  assemblage's  knotty  history.  Confined  to  the  twenties, 
his  assembled  "things"  reflect  the  influence  of  Dada  shock 
as  well  as  primitivistic  aspects  of  modernism;  they  are 
related  to  usages  of  nineteenth-century  folk  art,  the  legacy 
of  American  pragmatism,  and  a  peculiarly  American 
nature  mysticism.  Cornell's  "shadow  boxes,"  introduced  in 
the  thirties,  combine  a  nineteenth-century  romantic 
and  poetic  sensibility  with  the  discoveries  of  Surrealism; 
although  plastic  in  means,  they  emphasize  literary 
content  and  arcane  associations.  By  the  post-1945  period, 
however,  mixed  media  experienced  a  resurgence  within 
the  mainstream  of  advanced  art  in  New  York.  A  suscepti- 
bility to  junk  ingratiated  itself  into  Abstract  Expression- 
ism's play  with  "non-art"  scraps  (de  Kooning,  Pollock); 
it  exploded  in  the  next  generation's  freestanding  junk 
constructions  (Stankiewicz,  Chamberlain,  di  Suvero) 
and  breakdown  of  painting/sculpture  boundaries 
(Rauschenberg,  Johns,  Kaprow,  Dine).  In  San  Francisco, 
the  anti-  "fine  arts"  Beatnik  mystique  joined  gestural 
expressionism  with  a  Surrealist  sense  of  the  magically 
banal  (Lobdell,  DeFeo,  Hedrick,  Conner).  With  the 
"affluent  society"  providing  a  bottomless  wastebin  fed  by 
throw-away  consumerism  and  mass-media  overload,  it 
was  Los  Angeles  especially  that  made  the  art  of  assem- 
blage a  heaven-sent  metaphor  for  Wallace  Berman's 
"city  of  degenerate  angels."^ 

Los  Angeles  in  the  late  fifties  and  sixties  had  no 
monopoly  on  refuse,  detritus,  junk;  it  was,  however, 
already  the  city  of  the  smoggy  future,  the  archetypal  con- 
sumer society  gagging  on  the  boom  of  planned  obsoles- 
cence and  unplanned  urban  sprawl.  Vulgar,  extroverted, 
spontaneous,  energetic,  proudly  unsophisticated  —  Los 


Angeles  discouraged  a  civilized  sense  of  art  historical 
continuities.  As  Edward  Kienholz  had  it,  "Los  Angeles 
was  more  of  a  virgin.  When  I  first  came  to  Los  Angeles,  it 
was  virgin  so  far  as  art  was  concerned,  as  far  as  I  could 
sense  and  feel  it."'' 

Assemblage  developed  as  a  shadow  side  to  the 
famous  "L.A.  Look"  characterized  by  the  cool,  the  elegant, 
and  the  highly  crafted.  As  an  idiosyncratic  (and  often 
autodidactic)  alternative  to  the  newfound  professionalism, 
assemblage  evolved  as  a  complex  medium  for  social 
protest  and  personal  expression.  It  could  be  accessible 
in  genre-like  narrative  content  or  exclusive  in  occult 
reference.  The  West  Coast  assemblage  phenomenon  took 
off  from  a  Symbolist/Surrealist  heritage  that  had  a  closer 
kinship  to  Beat  poetry  and  underground  films  than  to  an 
understood  history  of  Cubist  innovation.  Counterculture 
rebellion  saw  society  as  violent,  repressive,  hypocritical  — 
and  individual  works  of  assemblage  appeared  to  preach 
to  the  multitudes  or  speak  in  undertones  to  the  initiates. 
Out  of  the  San  Francisco/Los  Angeles  nexus,  assemblage 
developed  as  a  vehicle  compatible  with  the  fashions  of  the 
period  from  occult  mysticisms  and  non-Western  thought 
systems  to  cosmologies  of  love  and  human-potential 
psychologies.  The  expanded  consciousness  of  drug  visions 
focused  upon  the  isolated  object,  disconnected  from  famil- 
iar, identifying  environments:  the  support  system  of 
comfortable  associations  disintegrated  and  novel  relation- 
ships were  suggested.  Long  and  close  attention  paid  to 
the  formal  qualities  of  the  discarded,  the  banal,  and  the 
conventionally  ugly  revealed  odd  beauties  and  intense 
significances.  Assemblage  evolved  as  a  language  of  sub- 
jectivity and  absolutes,  its  artists  seen  as  poet-visionaries 
or  social  critics.  Los  Angeles  produced  many  serious  as- 
semblage artists.^  Of  these,  Wallace  Berman  and  Edward 
Kienholz  represent,  both  formally  and  expressively, 
highly  diverse  approaches  to  the  medium. 

What  is  this,  an  art  show?  Where  is  the  art? 

— arresting  officer  at  Berman's  Ferus  show^ 

I  found  the  scene  in  the  automobile  and  the  house  of  pros- 
titution repugnant.  This  kind  of  expression  is  not  art  in  any 
sense  as  far  as  I  am  concerned.  — Warren  Dorn'' 


I'm  a  romantic.  I  preach. 


-Edward  Kienholz^ 


Until  recently,  the  art  of  Wallace  Berman  has  been 
something  of  an  underground  phenomenon  and  local 
affair.  Edward  Kienholz,  on  the  other  hand,  achieved  an 
international  reputation  by  the  end  of  the  sixties  and 
is  often  considered  the  West  Coast  artist.  Yet  both  occupy 
seminal  positions.  Berman  traditionally  is  cited  as  the 
progenitor  of  Los  Angeles  assemblage  and  as  a  conduit  of 
occult  sources  and  private  reveries.  TVagically,  Berman 
died  in  a  car  accident  in  1976  at  the  age  of  fifty;  although 
retrospectives  followed,  during  his  lifetime  he  had  avoided 
the  limelight  of  regular  gallery  shows  and  the  pragmatic 
"moves"  of  art-as-career.  Edward  Kienholz  is  the  tower- 
ing figure — the  artist  of  public  engagement  and  baroque 


Fig.l 

Wallace  Herman 
Veritas  Panel  (closed), 
1949-57  (destroyed) 
Mixed  media 

Fig.  2 

Wallace  Barman 
Veritas  Panel  (open), 
1949-57  (destroyed) 
Mixed  media 


^^Hl 


drama.  He  was  a  moving  force  on  the  Los  Angeles 
vanguard  art  scene  as  founder  of  the  Now  Gallery 
(1963)  and  co-founder  of  the  galvanizing  Ferus  Gallery 
(1957).  Kienholz  left  Los  Angeles  in  1975  and  now  divides 
his  time  between  Berlin,  West  Germany,  and  the  Amer- 
ican Northwest  (Hope,  Idaho)  of  his  upbringing. 

In  the  powder-keg  environment  of  the  sixties,  both 
Berman  and  Kienholz  experienced  the  fallout  of  outraged 
sensibilities.  Although  most  postwar  artists  denied  that 
shock  was  the  intent,  the  medium  of  assemblage  re- 
mained a  magnet  for  controversy  and  was  associated  with 
neo-Dada  menace.  At  the  same  time,  with  its  stress  on 
actuality  and  its  sympathy  for  narrative  associations,  as- 
semblage can  be  highly  accessible  to  the  viewer  Because 
it  sheds  high-art  intimidation,  assemblage  frees  the 
viewer  to  participate  on  his  own  terms  and,  in  the  proc- 
ess, invites  untutored  certainties.  When — as  in  the  cases 
of  Berman  and  Kienholz — the  subject  matter  is  believed 
offensive,  assemblage  by  its  very  form  works  to  deny 
redeeming  value.  Berman's  arrest  in  June  1957  at  his  first 
and  only  Ferus  Gallery  exhibition  was  precipitated  by 
unidentified  complaints  concerning  a  sexually  explicit 
image  included  in  an  assemblage.  The  arrest  was  an 
unobtrusive  event  generating  no  newspaper  response  and 
no  art-community  demonstration.  The  artist  and  the 
gallery  were  not  well  known;  more  nearly  unknown  in 
1957  was  the  art  of  media  exploitation  and  counterculture 
organization.  Fined  $150,  Berman  quietly  moved  to  San 
Francisco  and  then  to  Marin  County,  returning  to  Los 
Angeles  in  1961.  In  March  1962  an  exhibition  called 
Edward  Kienholz  Presents  a  Tableau  at  the  Ferus  intro- 
duced Roxys,  a  three-dimensional  environment  that  recre- 
ated a  house  of  prostitution.  Roxys  combined  mannequin 
and  doll  fragments  with  other  found  objects  in  a  realistic 
setting  that  included  music  and  aromas.  It  was  Kienholz's 
first  tableau;  his  reinvention  in  stridently  modernist 
terms  of  the  traditional  nineteenth-century  genre  scene 
fused  nostalgia  and  nightmare.  Roxys  was  a  succes 
d'estime  at  the  vanguard  Ferus,  but  four  years  later  it 
became  a  succes  de  scandal  at  the  respectable  Los  Angeles 
County  Museum  of  Art.  Roxys  and  The  Back  Seat  Dodge 
'38,  (cat.  no.  76)  created  a  county-wide  debate  on  such 
emotional  issues  as  art  versus  pornography,  government 
interference  versus  museum  responsibility,  and  county 
stewardship  of  public  morality  versus  professional  art 
expertise .'' 

Fifteen  years  after  Los  Angeles  County  Museum's 
exhibition,  several  tableaux,  including  The  Back  Seat 
Dodge  '38,  return  to  Los  Angeles  as  part  of  a  civic  cele- 
bration— their  historic  and  aesthetic  significance  are  be- 
yond dispute.  Less  clamorous,  however,  is  the  sense  of  Wal- 
lace Berman's  distinction  within  the  Los  Angeles  art 
scene  of  the  sixties.  His  large  freestanding  assemblages  of 
the  1957  Ferus  exhibition — Veritas  Panel,  Temple,  Fac- 
tum Fidei  (or  Cross) — are  known  only  from  photographs 
and  memories.  Berman  is  represented  in  the  present  ex- 
hibition by  five  of  the  twelve  untitled  "parchment"  paint- 
ings (cat.  nos.  32-36)  that  formed  an  important  part  of 
the  original  Ferus  show,  and  by  a  complete  set  ofSemina 


— nine  small  unbound  albums  of  drawings,  poetry,  photo- 
graphs, and  collages  produced  on  a  hand  press  by  Berman 
from  1955  to  1964  (cat.  nos.  23-31).  Thus,  an  understand- 
ing of  Berman's  importance  as  progenitor  of  a  Los 
Angeles  assemblage  movement  is  best  served  by  a  discus- 
sion of  the  destroyed  assemblages  from  the  early  Ferus 
exhibition.  Although  his  mature  oeuvre  investigated 
numerous  media,'"  its  consistent  symbolic  resonance  was 
established  in  the  1957  show.  These  assemblages  did  not 
form  a  tableau  in  the  unified  and  narrative  mode  of 
Kienholz;  nevertheless,  the  installation  as  a  whole 
suggested  a  cohesive — if  elusive  and  multivalent — 
thematic  organization. 

I'm  letting  it  come  through  from  dead  Poets. 

— Wallace  Berman^^ 

Berman's  earliest  extant  sculpture,  a  work  in  wood 
titled  Homage  to  Hesse  (1949-54),  exhibits  a  feel  for  the 
spaces  and  forms  of  Giacometti  and  Arp  and  for  the 
textural  sensuousness  of  Brancusi.  Keyed  by  the  title, 
its  formal  harmonies  suggest  a  physical  evocation  of  the 
magical  activity  and  formula  called  the  "Bead  Game" 
that  occupies  the  philosophical  center  of  Herman  Hesse's 
masterpiece  Magister  LudiP  Translations  of  Hesse's 
work  provided  Berman — as  it  did  for  a  later  generation 
of  youth  in  the  sixties — with  inspiration  and  a  workable 
integration  of  Eastern  and  Western  thought.  The  later 
editions  ofSemina  included  poetry  by  Berman,  by  his 
friends  in  Los  Angeles,  and  by  poets  associated  with  the 
San  Francisco  renaissance.  In  the  early  editions,  Ber- 
man's sense  of  a  unifying  stream  of  consciousness  and  of 
a  magical  confraternity  was  attracted  to  the  French 
Symbolist  and  Surrealist  tradition  and  to  the  visionary 
poetry  of  Blake,  Tagore,  and  Yeats.'^  The  existence  of  a 
secret  brotherhood  of  minds  stretching  backward  and 
forward  in  time  is  essential  to  Hesse's  novels  in  which 
spiritual  journeys  of  discovery  parallel  the  mundane  pas- 
sage from  birth  to  death.  This  brotherhood  is  deeply  felt 
in  Hesse's  poem  "The  Bead  Game,"  (included  by  Berman 
in  Semina  2  (1957): 

Music  of  the  spheres,  music  of  the  masters 

We  venerate  and  gladly  harken  to, 

To  glorify  with  taintless  celebration 

The  spirits  of  the  great  of  long  ago 

And  none  of  us  can  fall  from  out  their  courses 
If  not  toward  the  holy  colophon. 

Berman's  personal  colophon,  his  printer's  mark,  was  an- 
nounced in  Semina  2  by  the  motto  "art  is  love  is  god." 
Although  the  tenet  was  made  Berman's  own,  it  is 
explicit  in  the  work  of  Hesse.  Included  in  the  first  edition 
oi Semina  (1955),  Hesse's  "Tb  a  Toccata  by  Bach"  presents 
a  grand  equation:  "And  further  the  great  creative  urge 
swings  back  toward  (Jod . . ./  It  is  drive,  it  is  spirit,  it 
is  struggle  and  joy./  It  is  love."''*  The  quintessence  of 
Berman's  Ferus  exhibition  is  this  conscious  cultivation 
of  the  sacred. 


Fig.  3 

Wallace  Berman 
Temple,  1957  (destroyed) 
Mixed  media 


Fig.  4 

Wallace  Berman 
Factum  Fidei,  1956 
Mixed  media 


Accompanying  Homage  to  Hesse  at  the  Ferus  exhibi- 
tion were  three  large,  freestanding  assemblages  that  in- 
corporated disparate  fragments  from  the  worlds  of  nature 
and  manufacture  and  from  Berman's  wholly  personal 
repertoire  of  drawings,  calligraphy,  poetry,  and  photo- 
graphs: Veritas  Panel  (apparently  worked  on  from  1949  to 
1957),  Temple  (1957),  and  Factum  Fidei.  (1956).  Veritas 
Panel  (fig.  1)  is  a  container  for  highly  subjective  relics 
which,  keying  associations  with  ancient  mystical 
paths,  reveal  the  artist  as  a  carrier  of  truth.  The  assem- 
blage is  dominated  by  Berman's  photograph  of  his  wife, 
Shirley  Berman.  Compassionate,  accusatory,  enigmatic, 
the  large  eyes  evoke  an  iconic  madonna,  the  High  Priest- 
ess of  the  Tarot — or  even  an  allusion  to  the  Cabalist 
concept  of  bina,  feminine  understanding.  The  title  of  this 
"truth  panel"  derives  from  the  inscription  (Veritas) 
that  is  painted  on  the  photograph.  It  is  scrawled  with 
Latin-sounding  neologisms  suggesting  mysteries  of 
truth,  confirmation,  being,  existence,  ecstasy,  and  descent 
into  watery  depths  in  quest  of  rebirth;  images  of  a  free 
flying  bird  (panel  closed)  and  of  sunlight  and  human 
buoyancy  (panel  open)  echo  the  calligraphy  (fig.  2).  Using 
letters  and  numbers,  Berman  alludes  to  ancient  wisdoms 
— a  kind  of  Judeo-Christian  eclecticism  that  hints  at  pos- 
sibilities but  does  not  spell  out  certainties.  The  number 
12,  revealed  only  when  the  panel  is  open,  may  refer  to  the 
twelve  "parchment"  paintings  (disciples  or  witnesses) 
that  comprised  an  integral  part  of  the  Ferus  exhibition. 
Painted  with  black  ink,  the  chance  configuration  of  He- 
brew letters  is  made  timeworn  by  being  torn  in  eccentric 
patches  from  a  larger  sheet  of  paper,  itself  artificially 
aged  by  woodstain.  Affixed  to  canvas,  they  create  the  al- 
lure of  an  archaeological  conservation  of  venerable  and 
incomprehensible  teaching.  Originally  twenty-two  pieces 
were  planned'^ — perhaps  related  to  the  twenty-two 
letters  of  the  Hebrew  alphabet  and  the  twenty-two  major 
arcana  of  the  Tarot  deck.  Veritas  Panel's  elusive  refer- 
ences are  concentrated  by  the  probing  gaze  of  Shirley 
Berman;  she  challenges  the  viewer  to  the  introspection 
offered  by  the  mirror  behind  a  small  door.'"  This  mirror 
is  confronted  only  after  passing  through  a  scrap  of 
Berman's  handwriting.  The  implication  is  that  the 
"characters"  of  a  personal  script  create  a  parallel  system 
to  the  "character"  that  is  an  individual's  private  truth. 
Such  correspondence  is  consistent  with  Berman's  method 
of  symbolic  linkages.  The  High  Priestess,  for  instance, 
is  signified  in  the  Tarot  by  beth,  the  second  letter  of  the 
Hebrew  alphabet  and  the  force  that  begins  the  creation  of 
the  world.  Behind  beth  stands  aleph,  the  source  of  the  let- 
ters of  the  alphabet  and  of  all  sound — that  which  makes 
possible  language  and  understanding.  In  the  system  of 
the  Tarot,  aleph  expresses  the  unity  of  the  Creator;  mov- 
ing through  levels  of  being,  it  becomes  the  unity  of  the 
divine  and  the  demonic,  and  the  collective  unity  of  man- 
kind. It  is  the  letter-sign  of  the  Throt's  first  arcanum,  and 
its  image  is  the  Juggler.  If  Berman  took  aleph  as  his 
"soul-letter,"  he  did  so  in  partnership  with  beth.  the  High 
Priestess  and  mediator  of  Ventas  Panel.  His  identity  with 
mankind  is  expressed  in  the  act  of  artmaking.  He  be- 


comes the  Juggler  with  his  magician's  wand  who  deals  in 
images  and  letters  and  numbers  and  who  manipulates 
the  shapes  and  textures  of  the  world  in  order  to  create  a 
reliquary  of  mysteries."  Unlike  Edward  Kienholz,  who 
feels  that  "art  should  be  an  easier  experience"  for  the 
viewer,  Berman  is  brother  to  Mallarme —  "Everything 
sacred,  and  which  wishes  to  remain  sacred,  is  enveloped 
in  mystery.  Religions  shelter  behind  arcana  unveiled  only 
before  initiates.  Art  too  has  its  mysteries."'^ 

Temple  and  Factum  Fidei  enlarge  the  theme.  Liter- 
ally a  container,  Temple  (fig.  3)  is  a  vertically  upended, 
cratelike  construction  that  is  open  on  one  side.  It  is  the 
sanctum  of  a  priestly  contemplation.  An  apparition 
within  the  temple  recalls  the  figural  conventions  of 
medieval  art;  it  appears  to  float  in  an  otherworldly  space 
and  is  without  corporality  beneath  hooded  drapery.  A 
large  key  hung  about  the  figure's  neck  holds  forth  the 
promise  of  mysteries  unlocked.  On  the  walls  of  the  temple 
a  photograph  of  mentor  Herman  Hesse  mediates  be- 
tween ancient  and  contemporary  rituals  in  the  forms  of 
Berman's  "parchment"  painting  and  his  photograph  of  a 
Rachel  Rosenthal  "Instant  Theater"  event.'^  On  the  floor 
of  the  assemblage  the  cover  of  the  first  edition  ofSemina 
reveals  Berman's  eerie  photograph  of  the  Los  Angeles 
poet  Cameron,  an  inspired  sorceress  within  Berman's  cir- 
cle of  like-spirited  friends.  Placed  on  an  object  that  is 
both  prayer  stool  and  footlocker,  she  functions  as  guard- 
ian and  transmitter  of  the  secrets.  Ultimately  Temple  is 
inspirited  by  the  loose  pages  ofSemina  which,  "seeded" 
randomly  on  the  floor,  form  a  germinant  network  of  "dead 
poets"  and  living  singers.  This  brotherhood  is  focused  by 
the  third  assemblage, Factum  Fidei  (fig.  4).  It  presents  a 
rough-hewn  wooden  cross  firmly  set  upon  a  wooden  crate 
or  altar;  from  the  transverse  bar,  attached  by  an  iron 
chain,  hangs  a  close-up  photograph  of  sexual  intercourse 
inscribed  with  the  phrase  'Tactum  fidei."  The  assemblage 
is  an  icon;  it  expresses  the  "act  of  faith"  of  a  prototypal 
heterodoxy.  A  correspondence  is  set  up  that  unites  the 
Christian  resurrection  theme  with  the  creative  forces  of 
human  sexuality.  Formally,  the  sexual  image  echoes  the 
composition  of  the  cross;  this  correspondence  is  deepened, 
however,  by  visual  and  symbolic  suggestions  of  a  rose — 
perhaps  an  allusion  to  the  rose  of  Rosicrucianism,  an 
esoteric  knowledge  itself  influenced  by  the  Cabala.  An 
explicit  sexuality  replaces  the  rose  as  the  flower  of  Love 
and  the  center  of  Wisdom.  In  Factum  Fidei.  the  rational, 
geometric,  and  synthetic  structure  of  the  cross  is  com- 
pleted by  the  rose  of  sexuality — intuitive,  organic,  and 
god-animated.  In  Cabalistic  terms,  the  act  of  intercourse 
structures  the  universe  by  uniting  masculine  and  femi- 
nine principles,  wisdom  (chochman)  and  understanding 
(bina).  In  contemporary  terms,  the  assemblage  implies 
a  surrender  of  the  ego-centered  self  to  dualism-destroy- 
ing powers.  Berman's  assemblages  obviously  invite 
multiple  interpretations  that,  in  Cabala-like  manipula- 
tion, pile  association  upon  association  to  convey  hidden 
levels  of  meaning.  One  starting  point  would  see  the 
Ferus  Gallery  installation  as  a  coherent  whole  in  which 
Factum  Fidei  evokes  an  icon  of  a  unifying  absolute. 


iii^gLfiL 

i(kfj|.ilii. 

^iHL^Lil 

J^gL^lil 

Fig.  5 

Wallace  Berman 

Bouquet,  1964 

Verifax  collage 

28  X  29%  in. 

(71.1x74.6  cm.) 

Los  Angeles  County 

Museum  of  Art,  Los  Angeles 

County  Funds 

65.20 


Fig.  6  (cat.  no.  73) 
Edward  Kienholz 
Untitled,  1958 
Mixed  media 
49'/4  x  30'/8  in. 
(125.1x76.8  cm.) 
Lyn  Kienholz 


Temple  a  community  of  belief  and  a  seedbed  of  revelatory 
possibilities,  and  Veritas  Panel  the  veiled  autobiography 
of  an  individual  initiate  and  spiritual  traveler.  In  con- 
junction with  the  "parchment"  paintings,  this  threefold 
unity  turns  the  entire  gallery  into  a  temple  and  the  act 
of  artmaking  into  a  sacred  rite.^" 

As  containers  for  spiritual  accumulations,  Herman's 
large  three-dimensional  assemblages^'  were  superseded 
in  his  later  Verifax  collages  by  a  flat  grid  format.  In  the 
Verifax  collages  (fig.  5),  isolated  "found"  pictures  are 
centered  on  the  constant  image  of  a  small  hand- held  tran- 
sistor radio.  These  individual  units,  mechanically  repro- 
duced on  an  old  Verifax  machine,  are  mounted  on  sup- 
ports of  varying  sizes.  The  radio  "ground"  of  the  collage  is 
a  receiver  of  divinities  and  demons,  a  transmitter  of 
talismans  and  secret  codes:  Hebrew  letters,  crosses  of  all 
types,  locks  and  keys  and  doors;  fragments  of  Greek  and 
oriental  sculpture,  and  newspaper  photographs  of  contem- 
porary religious  leaders;  female  nudes,  body  parts,  and 
star  clusters;  guns  and  snakes  and  birds  and  roses  and 
mushrooms;  press  celebrities- — the  "angelheadedhip- 
sters" — and,  as  George  Herms  put  it,  "the  passing  parade 
of  angels  in  human  disguise."^^  Throughout  the  series 
the  same  images  are  often  repeated.  Like  a  cinematic 
technique,  their  impact  vibrates  according  to  placement 
within  a  montage  sequence.  Equally,  the  images  are 
a  "deck"  of  symbols  to  be  dealt  out  in  the  manner  of 
a  fortune-telling  grid.  A  medieval  sensibility  takes  the 
objects  of  the  world  as  signs  of  Revelation.  A  process 
prefigured  in  the  three-dimensional  assemblages,  each 
image  of  a  Verifax  collage  functions  as  a  starting  point 
for  breaking  into  a  circle  of  mystery. ^^ 

In  Berman's  art,  reality  is  not  caught  in  an  intellec- 
tually constructed  net  of  order;  rather,  it  is  invited  to 
reveal  itself  through  random  configurations  and  trial- 
and-error  arrangements.  Although  the  inventions  of  Sur- 
realism remain  crucial  to  Berman's  art,  they  were  less 
relevant  to  the  ambience  of  the  sixties  than  was  the  per- 
vasive allure  of  arcane  metaphors — the  Tarot,  astrology, 
white  and  black  magic,  palmistry — as  well  as  the  I 
Ching,  Cabalistic  and  Christian  esoteric  lore,  American 
Indian  rituals.  In  popular  psychology,  too,  Jungian 
thought  suggested  that,  "All  divinatory  practices,  from 
looking  at  tea-leaves  to  the  complicated  oracular  methods 
of  the  I  Ching,  are  based  on  the  idea  that  random  events 
are  minor  mysteries  which  can  be  used  as  pointers  to 
the  one  central  mystery."^"*  Fascination  with  occult  belief 
systems  and  with  hallucinogenic  drug  experiences 
coalesced — on  the  West  Coast  especially — with  earlier 
Beat  sympathies  for  Symbolism  and  Surrealism.  Fur- 
ther, counterculture  withdrawal  from  the  violence  and 
hypocrisy  of  the  "establishment"  paralleled  a  spiritual 
tradition  of  anonymity.  From  this  mix  was  created  the 
underground  artist-poet-seer;  and  the  art  of  assemblage 
yielded  the  compatible  medium.^'^  Berman's  assemblages  of 
the  1957  Ferus  exhibition  presaged  the  Los  Angeles 
assemblage  explosion  of  the  sixties,  but  it  was  his  par- 
ticular genius  to  fuse  underground  preoccupations  with 
compelling  images  and  inventive  forms.  An  act  of  sur- 


render to  the  Cabalist  doctrine  that  heaven  and  earth 
mirror  each  other,  Berman's  revelatory  art  brought 
enigmatic  messages  for  surviving  in  the  world.^® 

I  would  like  my  work  to  be  understood  for  just  exactly  what 
it  is:  one  man's  attempt  to  understand  himself  better. 

— Edward  Kienholz^'' 

They're  fantasies.  They're  femtasies  that  are  worked  out  in  3-D. 

— Edward  Kienholz^^ 

Edward  Kienholz's  rural  and  Protestant  upbringing 
was  often  solitary  within  the  context  of  a  tight  family  unit. 
Born  near  the  Idaho-Washington  border,  he  absorbed 
from  childhood  the  continuities  of  farming  life — an 
intimacy  with  births  and  deaths  and  the  rhythms  of 
the  seasons,  a  respect  for  nature's  power  and  caprices  and 
for  the  necessary  competencies  of  man's  survival.  Physi- 
cally strong  and  early  trained  in  manual  skills,  Kienholz 
would  channel  into  his  art  a  satisfaction  for  working  with 
his  hands  and  a  feel  for  efficient  rather  than  abstruse 
solutions.  With  a  variety  of  make-do  jobs  and  some  erratic 
college  experience  behind  him,  Kienholz  was  living  in 
Los  Angeles  by  1953.  The  poet  David  Meltzer  described 
the  camaraderie  that  pervaded  the  artist's  working  space 
on  Santa  Monica  Boulevard  behind  a  fiberglass  car-body 
shop: 

Kienholz,  from  the  Northwest,  expansive,  gregarious, 

goateed,  energized The  door  was  always  open  and, 

whether  Ed  was  working  or  not,  there  were  usually  people 
hanging  out,  talking,  drinking.  Kids  in  the  neighborhood 
would  sometimes  come  around  to  watch  Ed  hammer  together 
his  early  constructions.  An  open  house.  It  was  my  first  intro- 
duction to  working  artists  and  some  of  the  most  interesting  on 
the  scene  passed  through  Ed's:  John  Altoon,  George  Herms, 
John  Kelly  Reed,  Craig  KaufTman,  Billy  Al  Bengston. . . . 
At  Kienholz's  studio  I  met  Robert  Alexander  and 
Wallace  Berman.^' 

Kienholz's  early  abstract  "paintings"  are  low-relief 
constructions  of  scraps  of  wood  nailed  and  glued  to  a 
panel  support  (fig.  6);  they  were  painted  densely  and 
rapidly,  usually  with  a  house  broom  and  "pouring"  tech- 
nique. Pragmatically,  he  fused  his  poverty  situation  with 
modernism's  permission  to  exploit  "non-art"  materials. 
Independently  of  New  York  and  San  Francisco,  he  de- 
aestheticized  the  art  object  while  stressing  the  emotional 
force  of  abstraction  and  tactile  body  identification.  These 
works  gave  way  in  about  1957  to  painting  constructions 
with  centralized  imagery,  photo-figuration,  and  social 
commentary — works  that  increasingly  invaded  the 
viewer's  space.  By  1960  the  wall-bound  constructions  of 
wood  fragments,  paint,  and  the  occasional  preformed 
"found"  object  were  joined  by  fully  three-dimensional 
"off-the-wall"  assemblage.™  Jo/j/;  Doe  and  Jane  Doe  in- 
fused new  life  into  the  broken  doll  and  mannequin  imag- 
ery explored  by  Surrealist  art  of  the  thirties;  at  the  same 
time  they  announced  sixties  sympathy  for  the  representa- 
tional object.^'  These  companion  pieces — "proto-tableaux" 


Fig.  7 

Edward  Kienholz 

Roxys.  1961 

Furniture,  bric-a-brac,  live 

goldfish,  disinfectant,  perfume, 

juke  box,  clothing,  etc. 

Collection  Reinhard  Onnasch, 

Berlin,  West  Germany 


— continue  to  shock  by  the  violation  of  the  human  figure, 
but  they  also  ingratiate  by  a  straightforward  theme. 
Modern  men  and  women  are  alienated  from  their  emo- 
tions and  body  truths;  behind  the  pretense  of  maturity 
lie  psychological  fragmentation  and  sexual  anxiety. 

Although  Roxys  (fig.  7)  is  Kienholz's  first  tableau,  it 
was  preceded  by  other  assemblages  from  1960  that  use 
detached  parts  of  mannequins  to  propose  deperson- 
alized, mechanized  sexuality — an  unapologetic  focus 
upon  women  as  sex  objects.  The  impact  of,  for  instance, 
American  Lady  and  American  Girl  is  disconcerting  be- 
cause the  message  is  mixed.  The  artist's  exploitation  of 
the  female  image  exists  simultaneously  with  a  felt  sym- 
pathy for  damaged,  incomplete  human  beings.  As  sexual 
emblems,  the  trapped  fragments  are  mindless  (decapi- 
tated) and  ineffectual  (armless  and  legless);  they  are  both 
victims  and  arousers  of  fantasy.  In  Roxys  the  subject  mat- 
ter of  a  house  of  prostitution  forces  home  the  tension.  The 
doll  as  helpless  plaything/sacrifice  merges  with  the  erotic 
challenge  of  sleek  mannequin  legs,  only  to  be  further 
cursed  by  images  of  inner  decay  and  stupor  The  squirrel 
gnawing  through  the  chest  of  Five  Dollar  Billy  ( fig.  8)  and 
the  mindless  grin — trapped  under  a  burlap  bag — of 
Dianna  Poole,  Miss  Universal  give  only  two  examples 
from  a  nightmare  of  brilliantly  shocking  inventions.  The 
prostitutes  of  Roxys  were  grounded  in  the  artist's  own 
innocence  and  apprehensions,  but  they  remain  icons 
of  the  violation  of  the  human  spirit.  By  laying  out  his 
personal  fantasies,  Kienholz  unmasks  shared  cultural 
assumptions  and  makes  confrontation  unavoidable.^^ 

"My  work,"  Kienholz  has  commented,  "is  devised  to 
show  life  stripped  of  sham  and  hypocrisy."^^  His  tableaux 
of  the  sixties  discredit  heroics  and  expose  the  banality 
attendent  upon  social  malignancies  (The  Illegal  Opera- 
tion, 1962  [cat.  no.  75];  Five  Car  Stud,  1972),  institution- 
alized brutalities  (The  Birthday  1964;  The  State  Hospital, 
1966),  adolescent  alienation  and  lonely  aging  (The  Back 
Seat  Dodge  '38, 1964;  The  Wait,  1964-65),  time's 
wastage  (The  Beanery,  1965),  and  the  insanities  of  a 
doomsday  world  (The  Portable  War  Memorial,  1968).  In 
these  and  other  tableaux  the  viewer  is  disoriented  by  the 
contrast  between  big-concept  absolutes  and  extreme 
specificity.  Crucial  to  this  tension  is  Kienholz's  manipula- 
tion of  space  and  time.  His  use  of  a  rational  stage  space 
and  correct  "historical"  detail  sets  up  expectations  of  a 
safe  world;  dreamlike  fragmentation  and  metamorphosis 
of  objects  then  subvert  that  world.  The  impact  of  objects 
once  handled  by  real,  if  anonymous,  people  is  at  odds  with 
the  distancing  of  art.  Equally,  the  seductions  of  sentiment 
are  jarred  by  sympathy  with  the  timelessness  of  human 
pain.  Thus,  if  Kienholz's  art  is  an  "easier  experience"  in- 
tellectually, it  is  all  the  more  emotionally  disconcerting. 
The  sport  of  viewer  participation  is  mocked  by  the  act  of 
public  voyeurism,  and  storytelling  accessibility  deepens 
conflict — compassion  and  fear  rival  disgust  and  denial. 

Kienholz's  empathy  for  suffering  speaks  to  a  smash- 
ing of  childhood  promises  and  a  sadness  for  an  admired 
American  value  system  gone  awry.  It  suggests  a  secular 
Puritanism  concerned  not  with  flawed  souls  but  with 


Fig.  8 

Edward  Kienholz 

Five  Dollar  Billy 

(from  Roxys).  1961 

Paints  and  fiberglass,  sewing 

machine,  mannequin  parts, 

squirrel,  nuts 

40  X  45  X  22'/4  in. 

(101.6  X  114.3x56.5  cm.) 

Collection  Reinhard  Onnasch, 

Berlin,  West  Germany 

neurosis  and  distorted  social  conditioning.  The  impulse  to 
expose  sham  reveals  an  idealism  consistent  with  the  dis- 
tress and  moral  challenges  of  the  sixties.  In  a  powerful 
mix  characteristic  of  assemblage's  history,  Kienholz 
serves  moral  commentary  by  linking  modernism's  anti- 
aestheticism  with  the  accessibility  of  nineteenth-century 
genre  sculpture. 

But  all  my  work  has  to  do  with  living  and  dying,  our  human 
fear  of  death.  — Edward  Kienholz^* 


ART  IS  LOVE  IS  GOD. 


-Wallace  Berman 


Whether  its  history  was  modernist  venture  or  idio- 
syncratic usage,  assemblage  in  the  sixties  appears  in 
retrospect  as  something  of  a  period  style  and  a  response 
to  the  period's  social  turbulence.  It  was  during  the  coun- 
terculture revolutions  that  the  need  to  break  down  rigid 
polarities  of  thought  struck  a  chord  with  great  numbers 
of  people.  Artists  turned  to  assemblage  as  a  way  of 
returning  spiritual  value  to  the  objects  of  the  world;  to 
combat,  that  is,  what  Robert  Duncan  has  called  the 
"trashing  of  the  world-mind."^^  With  the  malignant  pro- 
liferation of  waste  comes  a  deeply  felt,  if  not  precisely 
understood,  withdrawal  of  meaning  from  life.  Writing 
persuasively  on  the  "normal"  state  of  schizophrenia  in 
twentieth-century  culture,  John  Vernon  has  commented 
that,  "Waste  is  created  by  the  structure  Western  thought 
gives  to  objects,  for  waste  is  possible  only  when  objects 
whose  full  meaning  is  "use"  have  become  useless.  Schizo- 
phrenics . . .  are  fascinated  by  waste,  by  their  own  waste 
deposits  and  the  waste  deposits  of  the  object  world,  that 
is,  by  junk."''* 

The  assemblage  artist,  rather  than  simply  hoarding 
junk,  reformulates  and  develops  new  contexts  for  the 
detritus  of  the  world.  Assemblage  can  make  manifest  the 
body-self  split  inherent  in  Western  dualist  thought  and 
intensified  by  a  civilization  honoring  materialism.  When 
objects  have  only  "use"  value,  human  beings  are  them- 
selves reified.  They  become  fragmented  and  interchange- 
able objects  —  brothers  and  sisters  to  the  horrific  figures 
of  Kienholz's  tableaux.  Another  possibility  of  assemblage 
is  the  re-inspiriting  of  forgotten  objects:  in  the  process, 
the  mysterious  continuity  of  human  beings  and  their 
world  is  affirmed — as  in  the  meditative  assemblages  of 
Wallace  Berman. 

In  Southern  California,  where  social  eruptions  and 
esoteric  interests  seem  magnified,  the  art  of  Berman  and 


Notes 


Kienholz  had  an  idiosyncratic  look,  sidestepping  as  it  did 
the  aesthetic  issues  dominating  assemblage  in  New  York. 
Instead,  the  potency  of  their  art  as  revelation  and  sermon 
developed  in  two  opposing  directions  reaching  back  to 
earlier  American  traditions.  Barbara  Novak  has  distin- 
guished two  tendencies  of  religious  experience:  "On  the 
one  hand,  the  traditional  projection  of  the  self  into  an  an- 
thropomorphic baroque  ecstasy;  a  form  of  appropriating 
the  world.  On  the  other,  a  serene,  almost  Oriental  absorp- 
tion of  the  self  into  the  cosmos,  an  annihilation  of  the 
self."^''  These  tendencies,  traced  through  nineteenth-  and 
early  twentieth-century  art,  again  present  themselves  in 
the  secular  morality  of  Kienholz's  Roxys  and  the  hermetic 
spiritualism  of  Herman's  1957  Ferus  exhibition.  For 
Kienholz,  the  artist  projects  his  fantasies  into  reality;  for 
Herman,  the  artist  is  the  meditative  center  through 
which  the  cosmos  flows.  In  the  sixties  in  Los  Angeles,  the 
baroque  opera  of  Kienholz  and  the  arcane  doxology  of 
Herman  represent  polar  aspects  of  the  city's  extensive 
assemblage  activity. 


^Los  Angeles  Art  Community  Group  Portrait:  Edward  Kienholz, 
interviewed  by  Lawrence  Weschler,  1977,  Oral  History  Program, 
University  of  California,  Los  Angeles,  vol.  1,  p.  109.  Quotations 
from  the  UCLA  transcript  occasionally  have  been  corrected  by 
the  artist  for  the  purposes  of  this  essay. 

^William  C.  Seitz,  The  Art  of  Assemblage,  The  Museum  of 
Modem  Art,  New  York,  1961. 

^Wallace  Berman,  Semina  2,  1957,  back  cover. 

••Kienholz  interview,  vol.  1,  p.  133.  Kienholz  is  comparing  Los 
Angeles  with  San  Francisco. 

^In  the  late  fifties  and  sixties  artists  as  distinct  in  character  as 
Wallace  Berman,  Bruce  Conner,  George  Herms,  and  Edward 
Kienholz  spearheaded  an  assemblage  "movement"  in  Los 
Angeles.  Although  Bruce  Conner  is  a  San  Francisco  artist,  his 
one-man  show  at  the  Ferus  Gallery  in  1962  and  his  inclusion  in 
major  group  exhibitions  at  the  Pasadena  Art  Museum,  the  U.C. 
Irvine  Art  Gallery,  and  the  Los  Angeles  County  Museum  of 
Art  made  him  an  influential  force  in  Los  Angeles.  Assemblage 
attracted  many  first  and  second  generation  practitioners,  and  a 
partial  list  spanning  the  sixties  would  include  Tony  Berlant, 
Sabato  Fiorello,  Llyn  Foulkes,  Dennis  Hopper,  Sandra  Jackson, 
Fred  Mason,  Richard  Pettibone,  John  Reed,  Betye  Saar,  Dean 
Stockwell,  John  Schroeder,  Ben  T^lbert,  Edmund  Teske,  and 
Gordon  Wagner  Emerging  to  exhibit  in  the  seventies  were, 
among  others,  Simone  Gad,  Bruce  Houston,  Phil  Orlando,  and 
Nancv  Yodelman. 


^Quoted  in  "An  Interview  with  Walter  Hopps,"  Wallace  Berman 
Retrospective,  ed.  Hal  Glieksman,  Otis  Art  Institute  Gallery,  Los 
Angeles,  1978,  p.  9. 

'Letter  from  Warren  M.  Dom,  Los  Angeles  County  Supervisor,  to 
Edward  W.  Carter,  President  of  the  Los  Angeles  County  Museum 
of  Art  Board  of  Trustees,  March  17, 1966,  quoted  in  Gerald  D. 
Silk,  "Ed  Kienholz's  'Back  Seat  Dodge  '38,'"  Arts  Magazine,  vol. 
52,  no.  5,  January  1978,  p.  117,  n.  1;  also  see  "Kienholz  Scrapbooks," 
Los  Angeles  County  Museum  of  Art  Library  or  the  Archives 
of  American  Art,  San  Francisco,  microfilm  roll  1042, 1-209. 


^Alfred  Frankenstein,  "Kienholz  Stirs  Up  a  Storm,"  San  Fran- 
cisco Chronicle,  April  3, 1966,  p.  23;  quoted  in  Silk,  "Back  Seat 
Dodge,"  p.  114. 

^The  offending  item  in  the  Berman  exhibition  was  presumed  to 
be  the  close-up  photograph  of  sexual  intercourse  forming  part 
of  the  assemblage  Factum  Fidei.  In  a  comedy  of  errors,  it  was 
overlooked  by  the  arresting  officers  who  seized  instead  upon  a 
relatively  inoffensive  drawing.  Brief  discussions  of  the  arrest  are 
provided  in  Merril  Greene,  "Wallace  Berman:  Portrait  of  the 
Artist  as  Underground  Man."  Arf/brum,  vol.  16,  no.  6,  February 
1978,  pp.  56-57;  Betty  Tirnbull,  The  Last  Time  I  Saw  Ferus 
1957-1966,  Newport  Harbor  Art  Museum,  Newport  Beach,  Cali- 
fornia, 1976,  n.p.;  Berman,  p.  9.  In  Kienholz's  exhibition  at  the 
Los  Angeles  County  Museum  of  Art,  the  prostitute  Five  Dollar 
Billy  of  the  Roxys  tableau  proved  particularly  objectionable; 
the  figure  lay  on  her  back  on  a  sewing  machine  treadle  that 
could  be  activated  by  the  viewer;  a  four-letter  obscene  word  was 
carved  into  the  assemblage.  Compromise  was  reached  when 
Kienholz  agreed  to  enlarge  the  platform  upon  which  Five  Dollar 
Billy  rests,  thus  slightly  distancing  the  viewer.  The  sexually  en- 


16 


gaged  couple  within  The  Back  Seal  Dodge  '38  was  revealed  only 
to  groups  touring  with  museum  docents.  Those  under  eighteen 
years  of  age  were  not  admitted  to  the  exhibition  unless  accom- 
panied by  responsible  adults.  For  Kienholz's  extensive  comments 
on  the  ruckus,  see  Kienholz  interview,  vol.  2,  pp.  376-99;  see 
also  "Kienholz  Scrapbooks,"  for  a  compilation  of  newspaper  and 
magazine  coverage. 

'"Berman's  mature  work  is  comprised  of  three-dimensional 
"junk"  assemblages  (c.  1949-57),  untitled  "parchment"  paintings 
(1956-57),  Semma  (vols.  1-9, 1955-64),  cover  designs  for  small 
press  publications,  and  a  body  of  photography.  He  is  perhaps  best 
known  for  an  extensive  group  of  collages  made  with  an  old 
Verifax  copying  machine;  and  for  assemblages  of  small  stones, 
as  well  as  in  situ  boulders  and  walls,  inscribed  with  Hebrew 
characters. 

"Quoted  in  "Hopps,"  Berman.  p.  9. 

'^As  interpreted  by  Hesse's  hero  Joseph  Knecht,  "The  Game  en- 
compasses the  player  at  the  conclusion  of  his  meditation  in  the 
same  way  as  the  surface  of  a  sphere  encloses  its  center,  and 
leaves  him  with  the  feeling  of  having  resolved  the  fortuitous  and 
chaotic  world  into  one  that  is  symmetrical  and  harmonious." 
Herman  Hesse,  Magister  Ludi,  trans.  Mervyn  Savill,  New  York, 
1949,  p.  10.  Parallels  between  the  Bead  Game  and  the  Cabala  are 
drawn  by  Herbert  Weiner  in  9 'A  Mystics:  The  Kabbala  Today, 
New  York,  1969,  pp.  118-19. 

"Kirby  Doyle,  Allen  Ginsberg,  Philip  Lamatia,  Michael 
McClure,  and  David  Meltzer  are  among  the  poets  included  in 
Semina  associated  with  the  San  Francisco  renaissance.  The 
French  tradition  was  represented  by  Antonin  Artaud,  Charles 
Baudelaire,  Jean  Cocteau,  Paul  Eluard,  and  Paul  Valery.  Drug 
allusions  and  "stoned"  thought  processes  are  pervasive  in  the 
Semina  series. 

"•Hesse,  Magister  Ludi.  p.  390-91;  Semina,  1955;  Semina  2. 
1957.  For  personal  reminiscences  and  a  discussion  of  Berman's 
literary  influences,  see  Robert  Duncan,  "Wallace  Berman:  The 
Fashioning  Spirit,"  Berma?!,  pp.  19-24. 

'^Greene,  "Underground  Man,"  p.  56. 

'^Because  Berman's  work  offers  itself  to  open-ended  interpreta- 
tion, his  symbolism  is  enriched  by  a  reference  from  the  "Acts  of 
John"  in  the  New  Testament  Apocrypha:  "The  twelfth  number/ 
dances  on  high.  Amen. .  .1  am  a  mirror  to  you/  who  know  me. 
Amen./  I  am  a  door  to  you/  who  knock  on  me.  Amen./ 1  am  the 
way  to  you/  the  traveler  Amen."  Quoted  in  Elaine  H.  Pagels,  "lb 
the  Universe  Belongs  the  Danger:  The  Jesus  Round  Dance  in 
the  Acts  of  John,"  Para6o/a,  vol.  4,  no.  2,  pp.  6-9. 

"David  Meltzer's  illuminating  essay  on  the  Jewish  mystical  tra- 
dition of  the  Cabala  discusses  the  creation  of  the  universe  from 
the  Hebrew  alphabet.  Meltzer  writes  that  "One  of  the  central 
sources  of  mystery  and  contemplation  in  the  Kabbalah  is  the 
Hebrew  alphabet.  It  is  believed  that  God  created  the  universe  by 
means  of  the  Hebrew  alphabet.  The  twenty-two  letters  of  the 
alphabet  are  twenty-two  realms,  twenty-two  states  of  conscious- 
ness. Each  container  embodies  an  essence  of  existence.  It  is  a 
four-dimensional  alphabet.  Each  letter  represents  a  literal  self,  a 
number,  a  symbol,  and  an  idea.  They  are  hard  to  classify  because 
they  include  all  the  qualities  they  designate,  and  when  a  letter 


is  placed  together  with  other  letters  to  form  words,  the  meanings 
within  the  meanings  interact  and  multiply  in  infinite  combina- 
tions. See  Meltzer,  "Door  to  Heaven,"  Berman.  p.  92.  See  also 
Gershom  G.  Scholem,  On  the  Kabbalah  and  its  Symbolism,  trans. 
R.  Manheim,  New  York,  1965;  and  Papus,  The  Tarot  of  the  Bohe- 
mians, trans.  A.  P.  Morton,  third  ed.,  rev.,  preface  by  Arthur  E. 
Wait*,  North  Hollywood,  California,  1978,  pp.  105-14.  See  also 
the  three  issues  (1942-44)  of  the  New  York  published  Surrealist 
Journal  VW  (edited  by  David  Hare,  with  Andre  Breton,  Max 
Ernst,  and — later — Marcel  Duchamp  as  advisers),  of  which  Ber- 
man was  aware.  Of  particular  interest  for  Berman  research  is 
issue  no.  2-3,  which  reproduced  a  Surrealist  card  deck:  Love, 
Revolution,  Dream,  and  Knowledge  replace  the  conventional 
suits,  and  historical  and  fictional  figures  valued  by  Surrealists 
reign  as  face  cards. 

'<*Kienholz  interview,  vol.  2,  p.  361;  Stephane  Mallarme,  "Art  for 
All,"  (1862),  quoted  in  Roland  N.  Stromberg,  ed..Reali.-im,  Natu- 
ralism,and  Symbolism:  Modes  of  Thought  and  Expression  in 
Europe.  1848-1914,  New  York,  1968,  p.  200. 

"^Conversation  with  Charles  Brittin,  October  14, 1980;  conversa- 
tion with  Rachel  Rosenthal,  November  26,  1980.  The  photograph 
collaged  to  Veritas  Panel  (open)  also  records  a  Rosenthal  dance 
event;  both  photographs  are  turned  on  their  sides. 

^"George  Herms  remembers  that  Berman's  Ferus  exhibition  gave 
him  his  first  sense  of  the  art  gallery  as  a  sacred  space.  Con- 
versation with  the  artist,  October  9, 1980. 

^'Formally,  Berman's  use  of  a  panel  structure  with  collages, 
photographs,  letters,  numbers,  etc.,  is  similar  to  contemporary  de- 
velopments in  New  York — for  instance,  Allan  Kaprow's  Grand- 
ma's Boy  (1957).  But  unlike  Kaprow  and  Rau.schenberg — e.g., 
the  freestanding  "combines"  Monogram  (1955-59)  and  Odalisque 
(1955-58),  Berman's  Ferus  assemblages  deemphasize  painter- 
liness  and  gestural  expressionism.  They  are  directed  toward 
outside  referents  rather  than  toward  self-referential  aesthetic 
queries;  and  they  are  insistently  "junky"  rather  than  self- 
consciously "jokey"  Surrealism  lurks  in  the  background  of  the 
entire  assemblage  movement,  but  West  Coast  artists  tended  to 
stress  the  magical  and  associational  power  of  objects  and  to  play 
down  the  object  as  a  formal  substitute  for  conventional  media. 
For  example,  Bruce  Conner  connects  his  assemblages  with  the- 
ater experience,  and  he  feels  that,  "Rauschenberg  was  a  painter 
and  these  were  paintings  that  he  was  doing,  that  rather  than 
being  a  paint  stroke  it  is  a  piece  of  cloth."  firuct'  Conner,  inter- 
view with  Paul  Karlstrom,  1974,  Archives  of  American  Art, 
Washington,  DC. 

^^George  Herms,  "Wallace  Berman  Exhibition,"  gallery  notes, 
Timothea  Stewart  Gallery,  Los  Angeles,  July-August  1977. 

^^An  extended  discussion  of  the  Verifax  collages  is  beyond  the 
scope  of  this  essay;  so  too  is  an  analysis  of  Berman's  late  work, 
primarily  composed  of  the  outdoor  walls  and  boulders  and  the 
small  mixed-media  assemblages  of  stones  inscribed  with  random 
associations  of  Hebrew  letters.  Counterpoised  with  the  frenetic 
compilation  of  the  Verifax  collages,  the  stones  return  to  the 
meditative  stillness  of  the  early //ornate  to  Hesse  sculpture.  On  a 
more  .serious  level  than  the  "stoned"  puns  and  perceptions  of  the 
sixties,  the  stone  as  symbol  and  actuality  becomes  the  quintes- 
sential image  in  Berman's  work,  as  it  similarly  functioned  for 
Hesse  in  his  best-known  novel,  Siddhartha.  For  Berman,  the 


stone  appears  as  the  void  made  manifest — the  ground  for  a  seed- 
ing of  Hebrew  letters  and  a  Cabalistic  meditation  on  the  eter- 
nally present  moment. 

^"Carl  Jung,  quoted  in  Arthur  Koestler,  The  Roots  of  Coincidence, 
New  York,  1972,  p.  108.  Although  Berman's  processes  were  not 
influenced  directly  by  John  Cage,  they  suggest  similar  inves- 
tigations. Cage's  interests,  which  saw  popular  currency  in  the 
sixties,  channeled  distrust  of  the  structured  intellect  into  highly 
sophisticated  concepts  of  indeterminacy.  Chance  operations  are 
seen  as  revealing  "the  world  of  nature,  where  gradually  or  sud- 
denly one  sees  that  humanity  and  nature,  not  separate,  are  in 
this  world  together."  John  Cage,  Silence:  Lectures  and  Writings, 
Cambridge,  Massachusetts,  1967,  p.  8. 

''^By  the  end  of  the  sixties,  John  Coplans  characterized  the 
California  mode  of  assemblage  as  a  "covert"  activity;  he  com- 
mented that  the  style  "belongs  to  a  small,  arcane  group  of  under- 
ground artists  who  draw  upon  a  common  source  of  literary, 
symbolic,  and  visual  metaphors  which  derive  from  a  shared  am- 
bience." John  Co'pXaTis,  Assemblage  in  California:  Works  from  the 
Late  50's  and  Early  60's,  Art  Gallery,  University  of  California, 
Irvine,  1968,  p.  5. 

^^Berman's  upbringing  as  a  street-wise  youth  of  Los  Angeles' 
Jewish  ghettos  serves  as  background  to  his  enigmatic  art.  Urban 
survival  brings  complex  strategies  to  quotidian  encounters. 
Cultural  heterogeneity  and  overpopulated  spaces  both  enrich 
and  threaten.  Keeping  one's  own  counsel  becomes  an  art  of  self- 
protection,  as  do  the  permissions  received  from  shifting  per- 
sonae.  There  is  a  necessary  sympathy  for  in-group  exclusiveness 
and  the  safety  of  jargons.  Drugs,  too.  provide  escape  from  the 
reality  of  poverty  and  boredom,  but  they  also  stimulate  vivid 
fantasies,  ease  passage  into  separate  realities,  and  urge  acquain- 
tance with  recesses  of  the  censored  mind.  Berman  appears  to 
have  been  temperamentally  at  one  with  the  drug  mystique  of 
the  sixties  and  with  the  decade's  yearning  for  esoteric  solutions 
to  existential  discontents.  Compare  the  perceptive  analysis  of 
the  matter  by  Merril  Greene  in  "Underground  Man,"  the  pioneer- 
ing article  for  Berman  research.  See  also,  Merril  Greene,  Art  as 
a  Muscular  Principle.  John  and  Norah  Warbeke  Gallery,  Mount 
Holyoke  College,  South  Hadley,  Massachusetts,  1975. 


the  seventies  by.  for  instance,  Phil  Orlando  and  Bruce  Houston. 
The  Hollywood  celebrity  icon  in  a  small  stage-box  presentation 
is  the  special  province  of  Sabato  Fiorello. 

'^"When  I  decided  to  make  a  whorehouse,  it  was  just  a  funny 
gesture  or  a  funny  idea.  I  wanted  to  make  it  as  good  as  possible. 
So  I  went  back  in  memory  to  going  to  Kellogg,  Idaho,  to  whore- 
houses when  I  was  a  kid,  and  just  being  sort  of  appalled  by  the 
whole  situation — not  being  able  to  perform  because  it  was  a 
really  crummy,  bad  experience,  a  bunch  of  old  women  with  sag- 
ging breasts  that  were  supposed  to  turn  you  on,  and  like  I  say,  it 
just  didn't  work  right.  So  I  took  those  feelings  and  the  name 
from  Las  Vegas  of  a  whorehouse  that  was  there,  a  very  famous 

one,  which  I'd  never  been  in But  later,  when  I  decided  to  name 

my  whorehouse  Roxys,  then  I  was  really  sorry  that  I  hadn't 
been  inside  the  original,  I  hadn't  seen  what  the  decor  was  like, 
what  the  ambience  was  like.  So  my  Roxys  is  a  combination  of 
eighteen-year-old  rememberings,  blue  movies,  imagination,  and 
whatever."  Los  Angeles  Art  Community  Group  Portrait:  Edward 
Kienholz,  interviewed  by  Lawrence  Weschler,  Oral  History 
Program,  University  of  California,  Los  Angeles,  1977,  pp.  231-33. 

=»Kienholz,  quoted  in  Silk,  "Back  Seat  Dodge  '38,"  p.  118,  n.  15. 

'"•Kienholz  interview,  vol.  2,  p.  342. 

'^Duncan,  "Wallace  Berman,"  Berman,  p.  23. 

'yohn  Vernon,  The  Garden  and  the  Map:  Schizophrenia  in 
Twentieth-Century  Literature  and  Culture,  Urbana,  Illinois, 
1973,  p.  25. 

^'Barbara  Novak,  American  Painting  in  the  Nineteenth  Century: 
Realism.  Idealism,  and  the  American  Experience,  New  York, 
1969,  p.  219. 


^'Kienholz  interview,  vol.  2,  p.  345. 
28Ibid.,  p.  351. 

^^Meltzer,  "Door  to  Heaven,"  Berman,  p.  99.  In  contrast,  Meltzer 
described  Berman  as  "soft-spoken,  wry,  inward,  uneasy  about 
committing  himself  to  big  concept  words...  he  gave  the  illusion 
that  all  of  his  work  came  about  accidentally,  a  random  happen- 
ing." Ibid.,  p.  99.  Berman's  storefront  studio  on  Sawtelle  Boule- 
vard (where  he  co-founded  "Stone  Brothers  Printing"  with  Bob 
Alexander)  was  also  a  center  of  random  art  activities  attracting 
artists,  poets,  dancers,  filmmakers. 

^"Critical  writing  has  discussed  at  length  Kienholz's  formal 
progression  toward  his  tableaux  of  the  sixties.  See  especially 
Maurice  Tuchman,  Edward  Kienholz,  Los  Angeles  County 
Museum  of  Art.  1966. 

^'The  evocative  power  of  doll  fragments  had  a  particularly  strong 
attraction  for  Los  Angeles  assemblage  artists;  it  was  used  to 
advantage  by  George  Herms  and  Fred  Mason  in  the  late  fifties 
and  early  sixties,  and  it  continued  to  be  minded  throughout 


Susan  C.  Larsen 


Los  Angeles  Painting  in  the  Sixties: 
A  Tradition  in  Transition 


The  decade  of  the  1960s  was  the  significant  moment 
for  painting  in  Los  Angeles.  The  city  had  always  looked 
promising  as  Stanton  Macdonald-Wright,  Morgan  Russell, 
the  Arensbergs,  Frank  Lloyd  Wright,  Man  Ray,  and  a 
host  of  others  observed  with  affection  and  enthusiasm.  It 
was  a  place  to  come  from,  a  place  to  visit,  a  place  linked 
to  older  more  cultivated  cities.  They  described  it  as  a  city 
of  great  vitality  holding  the  promise  of  things  to  come.  In 
the  sixties  the  era  of  the  cultivated  visitor  ended,  and  the 
era  of  the  dynamic,  unabashed,  plain-speaking  native 
began.  At  long  last,  the  promises  started  to  come  true. 

In  abstract  art  the  groundwork  had  been  laid  as 
early  as  the  thirties  in  the  highly  personal,  innovative 
work  of  Oskar  Fischinger  and  Peter  Krasnow.  By  the 
early  fifties,  painters  such  as  Lorser  Feitelson  and  John 
McLaughlin  had  established  a  tradition  of  abstraction 
that  combined  modernist  reductivism  with  idiosyncratic 
but  rigorous  interpretations  of  the  means  and  purposes 
of  abstract  art. 

The  impact  of  San  Francisco  in  the  fifties  was  impor- 
tant, too,  especially  the  Abstract  Expressionism  practiced 
by  Bay  Area  artists  as  diverse  in  style  as  Richard  Dieben- 
korn.  Jay  DeFeo,  Sonia  Gechtoff,  Frank  Lobdell,  David 
Park,  Hassel  Smith,  and  others.  These  artists  had  been 
exposed  to  the  tradition  of  Abstract  Expressionism  as 
early  as  1930,  when  Hans  Hofmann  accepted  his  first 
American  teaching  position  at  Berkeley.  A  decade  later 
this  involvement  with  abstract  painting  was  further 
encouraged  by  Clyfford  Still,  Mark  Rothko,  and  Ad 
Reinhardt,  each  of  whom  taught  at  the  California  School 
of  Fine  Arts  for  a  brief  period  of  time. 

By  the  late  fifties  a  great  number  of  the  gifted  young 
Los  Angeles  painters  were  adapting  the  loose,  calligraphic 
forms  of  Abstract  Expressionism  to  their  own  pui-poses. 
The  early  work  of  John  Altoon,  Robert  Irwin,  Craig 
Kauffman,  Ed  Moses,  and  Paul  Sarkisian,  although 
diverse  in  many  ways,  shares  this  basic  structure.  Many 
of  these  artists  had  studied  and  worked  in  San  Francisco 
and  most  had  also  spent  time  in  New  York,  where  they 
came  into  contact  with  the  work  of  the  second  generation 
of  New  York  Abstract  Expressionists.  There  they  discov- 
ered their  own  restlessness  mirrored  in  the  attitudes 
of  young  New  York  artists  who  shared  a  growing  deter- 
mination to  break  through  to  a  newer,  fresher  situation 
more  completely  their  own. 

When  the  Ferus  Gallery  opened  in  March  1957,  this 
generation  of  younger  California  artists  came  into  focus 
for  a  broader  public.  The  first  Ferus  exhibition  included 
some  of  the  more  prominent  Bay  Area  expressionists: 
Richard  Diebenkorn,  Sonia  Gechtoff,  Hassel  Smith,  and 
Clyfford  Still.  Soon,  however,  the  undeniable  energy 
of  Southern  Californians  such  as  John  Altoon,  Billy  Al 
Bengston,  Wallace  Berman, Craig  Kauffman,  Ed  Kienholz, 
and  Ed  Moses  asserted  itself  and  became  the  central 
force  of  the  Ferus  scene.  Founders  of  the  gallery — Walter 
Hopps  and  Ed  Kienholz — and,  later,  director  Irving  Blum, 
projected  an  aura  of  professionalism  and  reached 
beyond  the  boundaries  of  Los  Angeles  to  make  Ferus  part 
of  a  national  scene.  For  the  first  time  the  art  of  Southern 


California  commanded  the  attention  and  respect  of 
a  national  audience.  As  Bengston  observed,  "that  was 
the  time  when  we  all  decided  to  go  professional."'  The 
ambitiousness  and  verve  of  the  Ferus  environment  drew 
artists  such  as  Larry  Bell,  Robert  Irwin,  Ken  Price,  Ed 
Ruscha,  and  others  to  itself  within  a  short  time. 

In  abstract  painting  the  critical  breakthroughs  of  the 
Ferus  artists  during  the  late  fifties  were  subtle,  based 
more  upon  nuances  of  sensibility  than  their  brash  public 
images  might  indicate.  John  Altoon's  softened,  tactile 
forms  and  open,  light-filled  fields  projected  a  vibrant  sex- 
uality laced  with  irony.  His  imagery  spoke  of  tangible 
experiences — the  wisdom  of  the  body,  not  the  grander, 
more  cerebral  metaphysics  associated  with  the  later 
phases  of  New  York  Abstract  Expressionism.  If  Abstract 
Expressionism  had  become  an  academy,  Altoon  played 
truant  with  such  high  spirits  and  obvious  gifts  that  his 
irreverence  could  only  be  viewed  with  delight  and  a  mea- 
sure of  relief  Important,  too,  was  the  lightness  of  his 
palette,  the  transparency  of  his  color,  the  throbbing  sen- 
suality he  projected  upon  even  the  most  mundane  and 
everyday  objects  and  events.  This  stood  in  contrast  to  the 
studied  seriousness  of  much  of  the  painting  admired  dur- 
ing this  period,  such  as  the  late  work  of  Still,  Newman, 
and  Rothko.  Altoon  was  one  of  several  Southern  Califor- 
nia artists  who  turned  the  language  of  expressionism  into 
a  living  thing  of  the  city  streets,  immediate  and  direct, 
without  philosophical  or  literary  pretentions. 

The  work  of  Ed  Moses  and  Craig  Kauffman  during 
the  late  fifties  shares  some  of  these  stylistic  qualities — 
the  open  forms,  the  frank  eroticism,  the  sureness  and  ele- 
gance of  tactile,  calligraphic  passages  (cat.  nos.  82  and 
66).  Moses'  drawing  of  the  late  fifties  exhibits  a  great  in- 
tensity of  focus  and  touch  as  individual  areas  are  confi- 
dently delineated,  then  warmed  and  enriched  by  soft 
tonal  areas  and  the  physical  interaction  of  overlapping 
forms.  Moses  had  uncovered  the  possibility  of  working 
across  the  entire  plane,  shifting  the  placement  of  his  im- 
agery to  suggest  a  space  with  multiple  points  of  visual 
access.  His  floral  and  phallic  images  suggest  an  up-front 
eroticism  while  the  casual  sureness,  indeed  virtuosity,  of 
his  line  gives  evidence  of  a  fine-tuned  aesthetic  sensibility. 

After  an  almost  two-year  stay  in  New  York,  from 
1958  to  1960,  Moses  returned  to  Los  Angeles.  In  De- 
cember 1961,  at  Ferus,  he  showed  a  number  of  large-scale 
drawings.  These  were  fields  of  floral  and  leaf  forms  placed 
at  regular  intervals  across  a  highly  textured,  subtly 
modulated  field  of  soft  graphite.  Moses  transformed  the 
rose  pattern  of  an  ordinary  piece  of  Mexican  oilcloth  into 
a  highly  structured  planar  field.  Dealing  with  a  basically 
graphic  form  derived  from  a  printed  source — not  a  real 
rose  but  a  picture  of  a  rose — he  exposed  its  true  identity 
by  barely  outlining  it  and  flattening  the  form,  then  giv- 
ing it  three  dimensions  by  pushing  the  graphite  to  near- 
black,  then  allowing  the  rose  to  flatten  once  more  and 
fade  into  the  soft  gray  of  his  modulated  background. 
This  work  gave  evidence  of  his  awareness  of  the  issues  of 

'Conversation  with  the  artist,  September  1980. 


modernist  painting  of  the  early  sixties.  It  was  a  self- 
confident,  personal  exploration  of  the  issues  of  graphic 
imagery,  something  which  was  at  the  same  time  occupy- 
ing the  thoughts  of  Johns,  Rauschenberg,  and  others  in 
New  York  in  more  direct  and  obvious  ways.  This  work 
also  revealed  Moses'  basic  modernist  sensibility,  the  aes- 
theticism  which  would  remain  the  hallmark  of  his  career, 
handled  at  this  point  with  a  warmth  that  was  immediate 
and  physical,  full  of  the  traces  of  the  artist's  own  character 

The  following  year  Moses  pushed  this  format  further, 
achieving  an  even  more  impressive  level  of  intensity  in 
his  drawing.  In  a  large  format,  some  forty  by  sixty  inches, 
he  shifted  the  figure-ground  balance  of  his  imagery  to 
place  major  emphasis  upon  the  ground  (cat.  nos.  83-89). 
Covering  the  plane  with  acute  gestural  passages,  he  em- 
bedded the  by  now  almost  unreadable  roses  within  a 
dense  graphite  structure.  Light  is  trapped  and  partially 
reflected  by  the  soft  layer  of  graphite,  sending  a  shimmer 
of  metallic  gray  across  the  surface  of  the  work.  One  is 
acutely  conscious  of  the  presence  of  the  medium  on  the 
paper,  recalling  certain  Japanese  printmakers'  use  of 
mica  to  achieve  a  state  of  absolute  physical  density  on 
the  surface  of  their  prints.  Moses'  drawing  of  this  period 
stands  as  a  technical  tour  de  force,  achieving  a  studied 
awareness  of  the  medium  by  redefining  it,  using  it  not  as 
a  tool  for  delineation  but  as  a  means  of  establishing  a 
material  presence  on  the  plane  of  the  paper 

By  all  accounts,  one  of  the  most  gifted  and  precocious 
of  the  Ferus  artists  was  Craig  Kauffman.  Confident  and 
accomplished  beyond  his  years,  Kauffman  was  only 
twenty-five  when  he  took  part  in  the  Ferus  opening  ex- 
hibit of  1957;  even  more  surprising,  he  had  already  had  a 
one-man  show  at  the  prestigious  Felix  Landau  Gallery 
in  1953.  Kauffman's  paintings  of  this  period  are  high  in 
color  and  his  line  is  buoyant;  his  imagery  playfully  erotic, 
with  vast  bright  fields  of  open  space  suggestive  of  the 
physical  and  emotional  landscape  of  Southern  California. 

Another  of  Kauffman's  strengths  was  his  cos- 
mopolitanism, also  unusual  in  so  young  an  artist.  He 
spent  time  in  San  Francisco  from  1959  to  1960,  he  had 
already  been  to  Europe  in  1956,  and  would  go  again  in 
1960-61.  His  knowledge  of  New  York  art  included  a  grasp 
of  the  concepts  involved  in  color-field  painting.  Most  im- 
portant of  all,  Kauffman  had  the  ability  to  transpose  this 
wealth  of  information  and  observation  into  his  own  key, 
one  which  seemed  so  appropriate  to  the  time  that  it  im- 
mediately established  a  stylistic  base  for  a  host  of  other 
California  artists. 

One  who  acknowledged  the  importance  of  Kauffman's 
spatial  and  coloristic  vision  was  Billy  Al  Bengston, 
a  perceptive  iconoclast  with  unusual  resources  of  his 
own.  Bengston  came  to  Los  Angeles  as  a  teenager  and 
enrolled  at  Manual  Arts  High  School  in  1948.  After  a 
somewhat  troubled  but  productive  period  as  an  art  stu- 
dent he  found  employment  as  a  beach  attendant  during 
the  summer  of  1953.  There  he  discovered  a  life-style 
uniquely  suited  to  his  needs  at  the  time,  a  life  of  swim- 
ming and  surfing  and  making  art  which  he  shared  with 
his  friend  Ken  Price,  whom  he  met  at  the  beach  during 


that  summer  of  1953.  Bengston  and  Price  also  shared  an 
intense  involvement  in  ceramics.  For  Bengston,  the  op- 
portunity to  study  with  Peter  Voulkos  at  the  Otis  Art  In- 
stitute was  especially  significant.  Bengston  also  pursued 
his  own  study  of  Japanese  ceramics,  which  led  him  to  the 
decorative  and  refined  aesthetic  of  Oribe  and  Shino  ware 
as  well  as  the  more  widely  known  and  much-admired 
Raku  ware. 

The  rich  diversity  of  Bengston's  life,  especially  his 
serious  pursuit  of  motorcycle  racing  and  his  knowledge  of 
techniques  involved  in  their  maintenance  and  repair, 
made  him  expert  in  the  use  of  sprayed  enamels  and  lac- 
quers and  the  action  of  such  paint  upon  metal  surfaces. 
Unencumbered  by  academic  biases  concerning  high  and 
low  art  forms,  Bengston  was  capable  of  a  remarkable  syn- 
thesis. He  went  about  making  a  painting  with  the  cool 
confidence  of  someone  constructing  a  well-tooled  object. 
Bengston's  centered  images  can  and  should  be  compared 
to  Johns'  targets  and  flags,  which  the  younger  Cali- 
fornian  saw  at  the  Venice  Biennale  in  1958.  But  with  the 
loose  parallel  of  a  centered  format  the  similarity  ends. 
Bengston's  work  of  the  early  sixties  is  all  gleam  and 
gloss  and  shiny  hard,  achieved  by  applying  the  devices  of 
layering  and  spraying  he  had  learned  so  thoroughly 
while  working  on  the  smooth  surfaces  of  motorcycles. 
Choosing  Masonite  instead  of  canvas,  he  found  a  hard 
surface  that  would  receive  the  pigment  without  absorb- 
ing it  and  altering  its  physical  qualities. 

Bengston's  paintings  of  this  time  also  exhibit  the  am- 
bitiousness  of  scale  that  was  so  typical  of  this  moment  in 
American  art.  His  magnified,  large-scale  chevrons  (cat. 
nos.  10-13)  and  irises  and  concentric  circles  challenge  the 
viewer  to  place  them  in  a  new  lexicon  of  graphic  imagery. 
Suggestive  of  the  emblems  on  uniforms,  of  floral  imagery 
on  decorative  screens,  or  of  a  host  of  other  contexts,  they 
are  none  of  these.  In  order  to  serve  as  signifiers  in  the 
usual  sense,  they  would  require  a  human — that  is  to  say, 
an  intellectual — context,  a  world  of  related  imagery  in 
which  to  reveal  their  identity.  Within  Bengston's  paint- 
ings such  images  can  only  discover  their  physical 
location.  Even  their  physical  situation  has  been  so  neu- 
tralized, plunged  so  completely  into  a  controlled  world  of 
evenly  modulated  pigment,  of  graded  light  and  symmetry, 
that  the  image  may  be  said  to  be  engaged  in  a  solo  flight 
within  an  enclosed  environment.  If  there  is  anything 
metaphysical  about  these  emblems,  it  is  more  likely  to  be 
revealed  by  their  physical  situation  within  the  painting 
than  in  the  meanings  of  the  symbols  themselves. 

Bengston's  decision  to  work  within  a  symmetrical, 
centered  format  is  part  of  a  desire,  very  common  among 
his  generation,  to  evade  or  destroy  the  issue  of  composi- 
tion, particularly  Cubist-derived  concepts  of  dynamic 
asymmetry.  Johns'  targets,  Stella's  symmetrical  stripes 
and  chevrons,  Noland's  concentric  circles,  and  many  other 
examples  might  be  cited  as  contemporary  parallels.  When 
questioned  about  this,  however,  Bengston's  motives  seem 
to  differ  significantly  from  theirs:  he  speaks  of  eliminat- 
ing or  "locking  in"  the  aspect  of  composition  to  get  on 
with  the  job  of  making  a  painting,  freeing  himself  to  ad- 


dress  the  compelling  issues  of  surface,  imagery,  and  phys- 
ical structure.  For  whatever  reason  he  has  adopted  it, 
Bengston's  symmetry  is  anything  but  calming  and  cere- 
bral; it  creates  something  of  a  confrontation  between 
viewer  and  image,  between  the  viewer  and  that  object 
which  is  the  painting.  Like  so  many  of  his  contemporaries 
in  Los  Angeles,  Bengston  sought  to  eradicate  the  possi- 
bility of  seeing  the  painting  as  a  window  or  even  as  a 
metaphor  Relentlessly,  Bengston  made  the  painting  so 
completely  a  physical  presence  that  it  could  not  possibly 
be  mistaken  for  anything  else. 

The  power  of  these  paintings  to  affect  the  viewer  is 
all  the  more  surprising  in  view  of  their  cool  factuality,  not 
unlike  that  cool  outward  posture  masking  controlled 
tension  which  was  so  carefully  cultivated  in  the  social 
sphere  of  the  sixties.  Bengston  chooses  to  show  us  the 
result,  not  the  process;  he  offers  a  finished  object,  a  state 
of  being  sufficient  unto  itself  His  paintings  are  as  real 
and  unromanticized  as  the  bare  facts  of  contemporary  life: 
they  repel  sentimentality  and  iconographic  interpre- 
tation. Now,  twenty  years  later,  this  may  seem  a  cool  and 
unrelieved  attitude,  but  it  is  one  which  requires  a  good 
deal  of  discipline  and  clearness  of  vision,  qualities  that 
are  perhaps  still  to  be  admired. 

During  the  early  sixties  in  Los  Angeles,  New  York, 
and  elsewhere,  long-held  assumptions  concerning  the 
basic  physical  structure  of  a  painting  were  being  torn 
apart  and  redefined.  During  the  era  of  Minimalism, 
paintings  were  frankly  acknowledged  to  be  objects,  a  spe- 
cial class  of  objects,  perhaps,  but  ones  that  existed  in  the 
real  world  of  tangible  physical  space.  In  New  York,  Frank 
Stella's  shaped  canvases  required  the  viewer  to  become 
aware  of  the  outward  contours  of  the  painting,  to  .see  and 
acknowledge  the  shape  and  thickness  of  the  stretcher 
bars  and  the  visible  grain  of  the  canvas  itself.  Ellsworth 
Kelly's  painted  metal  planes  functioned  in  much  the 
same  way;  they  were  vivid,  assertive,  based  upon  the 
primacy  of  shape  and  a  merging  of  color  and  physical 
contour.  In  the  work  of  these  artists  and  many  others  of 
this  time,  the  boundaries  between  painting  and  sculpture 
broke  down,  the  variety  of  media  available  to  the  artist 
expanded,  and  the  old  world  of  canvas,  easel,  and  brush 
was  abandoned,  if  only  temporarily,  in  favor  of  a  brave 
new  world  of  contemporary  technological  form. 

By  the  early  1960s  a  particular  aesthetic  began  to  be 
identified  with  Los  Angeles.  It  was  lean,  cool,  well- 
crafted;  it  involved  unusual  materials  such  as  metal,  new 
plastics,  glass,  resins,  and  industrial  pigments.  The  "L.A. 
Look"  was  never  completely  defined  but  found  its  most 
typical  expression  in  certain  works  by  Larry  Bell,  Billy 
Al  Bengston,  Robert  Irwin,  Craig  Kauffman,  John 
McCracken,  and  Ed  Ruscha.  As  the  careers  of  these  art- 
ists have  unfolded,  we  may  now  see  more  differences  than 
similarities  in  their  work.  It  is  likely  that  these  differ- 
ences were  there  all  along. 

The  softened,  painterly  forms  of  Craig  Kauffman's 
paintings  of  the  late  fifties  had  depended  upon  their  clear 
if  uneven  contour  lines  for  physical  definition.  During  the 
early  sixties,  Kauffman  invested  his  buoyant,  playfully 


suggestive  forms  with  a  new  clarity  and  rigor.  He  began 
working  with  Plexiglas,  employing  crisp,  flat  shapes  with 
beautifully  rounded  contours  and  intense  areas  of  color. 
They  had  the  sleek  good  looks  of  a  well-made  machine, 
animated  by  strong  sexual  overtones.  As  such,  they  are 
late  twentieth-century  counterparts  to  the  mechano- 
erotic  visions  of  Duchamp  and  Picabia. 

Kauffman's  ability  to  employ  complex  technology 
developed  along  with  the  deepening  clarity  of  his  imagery. 
By  1968,  two  years  after  the  end  of  the  Ferus  era  in  Los 
Angeles,  Kauffman  produced  a  group  of  large,  vacuum- 
formed  Plexiglas  works  which  seemed  to  place  color  and 
light  into  a  state  of  pure  physical  suspension  (cat.  nos. 
67-72).  In  these  works,  colored  air  is  made  to  hover  in 
space.  We  look  through  and  into  the  form,  never  discover- 
ing its  source  of  support,  so  diffuse  and  subtle  is 
Kauffman's  handling  of  the  layers  of  material  from  sur- 
face to  ground.  He  has  exchanged  the  earlier  erotic  imag- 
ery of  his  art  for  a  direct  embodiment  of  an  exquisitely 
controlled  but  powerfully  sensuous  form.  At  its  best,  the 
hard  gleam  of  the  "L.A.  Look"  is  able  to  produce  precisely 
this  paradox,  a  cool,  fine-tooled  form  exhibiting  a  refined 
but  seductive  sensuality.  Departing  from  the  somewhat 
more  conceptualized  form  of  New  York  Minimalism,  ex- 
ponents of  the  "L.A.  Look"  celebrated  the  lush  physicality 
of  their  art,  pushing  their  imagery  and  material  to  new 
heights  of  tactile,  coloristic,  and  technical  complexity. 

In  1965  Ron  Davis  moved  to  Pasadena  from  San 
Francisco,  where  he  had  been  studying  and  working.  At 
the  time,  Davis  was  making  enormous  shaped  canvases 
in  separate  panels  positioned  to  form  interlocking  geo- 
metric configurations.  His  was  ambitious  work,  even  if 
it  was  somewhat  more  involved  with  the  abstract  formal 
issues  of  painting  than  that  of  many  of  his  contem- 
poraries in  Los  Angeles.  Within  little  more  than  a  year, 
Davis  had  changed  the  physical  structure  of  his  work  and 
modified  his  imagery  to  allow  the  interplay  of  a  radically 
altered  form  of  perspective.  The  paintings  were  now  made 
of  polyester  resin  and  fiberglass.  They  were  large,  in- 
tensely colored,  strong  geometric  forms  with  translucent 
interior  depths  capable  of  trapping  light  within  the 
layers  of  their  material. 

Davis,  moreover,  achieved  a  daring,  unexpected 
equivalence  of  literal  and  depicted  form.  He  had  created 
the  graphic  image  of  a  three-dimensional  geometric 
object  that  appeared  to  exist  in  real  space,  cut  free  from 
the  confining  edge  of  the  rectangle.  During  a  decade  that 
prided  itself  upon  a  frank  admission  of  the  literal  flatness 
of  the  painted  plane,  Davis'  powerful  illusionistic  forms 
appeared  to  overturn  cherished  norms  of  the  period.  In  a 
1966  Artforum  essay,  "Shape  as  Form:  Frank  Stella's 
New  Paintings,"  New  York  critic  Michael  Fried  had 
argued  for  "the  primacy  of  literal  over  depicted  shape."^ 
Davis,  on  the  other  hand,  had  just  achieved  a  congruence 
of  literal  and  depicted  shape. 

In  the  same  essay,  however.  Fried  went  on  to  suggest 

^Michael  Fried,  "Shape  as  Form:  Frank  Stella's  New  Paintings," 
Artforum.  vol.  5,  no.  3,  November  1966,  p.  19. 


that  the  advent  of  Minimalist  painting  had  opened  the 
door  to  a  reconsideration  of  purely  fictive,  optical  imagery. 
Quoting  Greenberg,  he  found  support  for  his  own  intui- 
tion: "The  heightened  sensitivity  of  the  picture  plane  may 
no  longer  permit  sculptural  illusion,  or  trompe  Voeil,  but 
it  does  and  must  permit  optical  illusion ....  Only  now  it 
is  strictly  pictorial,  strictly  optical  third  dimension."^  It 
is  just  this  distinction  between  trompe  I'oeil  and  pictorial 
illusionism  that  marks  the  critical  boundaries  in  Davis' 
art.  Davis  does  not  show  us  a  slice  of  the  visible  world  but 
uses  the  pictorial  convention  of  perspective  to  propose  a 
reality  of  his  own  making,  to  convince  us  of  the  reality  of 
a  powerful  illusion  sharing  our  own  space.  Not  only  did 
Davis'  hovering  forms  appear  to  exist  in  the  rooms  they 
inhabited,  their  acute  two-point  perspective  expanded 
these  rooms  as  if  the  interior  perspective  of  the  painting 
were  connected  to  a  space  more  grand  and  expansive 
than  the  real  contours  of  the  room  itself 

In  1967  it  was  Fried  who  recognized  the  important 
step  Davis  had  taken.  Reviewing  Davis'  one-man  show  at 
the  Tiber  de  Nagy  Gallery  in  New  York,  Fried  expressed 
his  enthusiasm  for  the  young  Californian's  work:  "What 
incites  amazement  is  that  ambition  could  be  realized  in 
this  way  that,  for  example,  after  a  lapse  of  at  least  a  cen- 
tury, rigorous  perspective  could  again  become  a  medium 
of  painting.""  If  Davis'  particular  accomplishment  was 
unusual  for  his  time  and  for  Los  Angeles,  so  were  his 
sources  which  involved  a  reconsideration  of  long-standing 
traditions.  Davis  was  an  avid  admirer  of  the  Renaissance 
painter  and  mathematician  Paolo  Uccello,  who  opened  up 
grand  vistas  in  his  painting  through  the  use  of  the  new 
art  of  perspective.  Also  important  to  Davis  was  the  then 
neglected  art  of  Patrick  Henry  Bruce,  the  early  twentieth- 
century  American  whose  clear,  conceptualized  still-life 
compositions  have  a  compelling  beauty  prophetic  of 
Davis'  own  ambitions  for  his  work. 

Davis'  dodecagons  of  1968  and  1969,  measuring 
slightly  more  than  eleven  feet  in  width,  are  notable  for 
their  complex  color,  massive  scale,  and  aura  of  complete- 
ness (cat.  nos.  37-42).  As  Davis  worked  on  this  group  of 
paintings,  internal  divisions  of  space  shifted  and  clear 
tonal  planes  gave  way  to  complex,  densely  painted  areas 
of  color  During  Davis'  progress  from  Dodecagon  (63)  to 
the  later  Zodiac  (96),  we  see  a  change  in  his  conception 
of  this  stable  geometric  form,  seen  first  as  an  open,  trans- 
lucent configuration  in  which  each  segment  is  known, 
then  as  a  heavier,  nearly  opaque  structure  in  which  each 
painted  segment  introduces  another  mood  and  direction, 
like  the  contradictory  but  interrelated  phases  of  a  com- 
plex cycle.  Davis  liked  to  observe  these  paintings  on  a 
large  black  wall  in  his  studio,  where  they  must  have 
appeared  as  extraordinary  phenomena,  beautifully 
articulated  visions  cast  within  believable  geometric 
forms.  If  there  is  a  significant  link  between  Davis'  work 
of  this  time  and  that  of  Bell,  Bengston,  Kauffman,  and 

"Ibid. 

"Michael  Fried,  "Ronald  Davis:  Surface  and  Illusion,"  Art/bruni. 
vol.  5,  no.  8,  April  1967,  p.  37 


others  employing  unusual  media,  it  is  perhaps  in  the 
phenomenological  aspect  of  their  work,  the  way  it  is  able 
to  convince  one  of  the  beauty  and  believability  of  a  world 
perceived  and  understood  by  the  senses. 

At  the  same  time  in  Southern  California  another 
remarkable  painter,  John  McLaughlin,  pursued  quite  a 
different  path  in  order  to  "liberate  the  viewer  from  the 
tyranny  of  the  object."^  Although  McLaughlin  was  born 
in  1898  and  was  much  older  than  any  artist  of  the  Ferus 
generation,  we  are  still  in  the  process  of  understanding 
and  discovering  his  art.  McLaughlin  was  known  in  this 
area  as  early  as  the  1950s  and  had  numerous  shows  at 
the  Felix  Landau  Gallery  in  Los  Angeles.  But  it  was  not 
until  the  late  sixties  and  seventies  that  his  work  had  its 
greatest  impact  upon  the  younger  painters  of  Southern 
California.  In  one  sense,  McLaughlin  was  the  oldest 
painter  in  this  area;  he  had  patiently  absorbed  and  eval- 
uated the  traditions  of  European  abstract  art,  of  Malevich 
and  Mondrian,  while  also  penetrating  the  aesthetics  and 
philosophies  of  the  Far  East.  McLaughlin's  art  involved  a 
well-reasoned  rejection  of  the  aesthetics  of  late  twentieth- 
century  formalism,  a  distrust  of  technical  virtuosity 
as  an  end  in  itself,  and  a  desire  to  achieve  a  state  of 
unfettered  clarity  in  his  life  and  art.  By  freeing  himself 
of  dogma,  symbolism,  beautiful  design,  and  even  of  his 
own  willfulness,  McLaughlin  distinguished  himself  from 
his  peers  and  remained  the  youngest  and  least  time-bound 
of  them  all. 

Born  in  Sharon,  Massachusetts,  McLaughlin  had 
been  a  dealer  in  Japanese  prints,  a  translator  during 
World  War  II  in  Japan,  Burma,  and  China,  as  well  as  a 
serious  part-time  painter  When  he  and  his  wife  settled  in 
Dana  Point,  California,  in  1946,  forty-eight-year-old 
McLaughlin  made  a  decision  to  devote  himself  completely 
to  his  painting.  His  work  matured  during  the  fifties  as  he 
practiced  a  rigorous  discipline,  reducing  the  number  of 
elements  in  his  canvases,  eliminating  niceties  of  design, 
eventually  producing  paintings  that  were  able  to  con- 
vince both  the  artist  and  the  viewer  of  what  McLaughlin 
termed  "the  power  of  withholding."^ 

Even  a  cursory  examination  of  McLaughlin's  work 
cannot  fail  to  disclose  his  early  influences:  he  admired 
Mondrian  for  taking  the  crucial  step  beyond  Cubism  and 
emulated  the  large,  powerful,  non-objective  forms  of 
Malevich.  McLaughlin  could  not,  however,  accept  many 
of  the  basic  concepts  motivating  the  work  of  these  two 
modern  masters  and  eventually  came  to  regard  their 
achievements  as  incomplete.  For  example,  McLaughlin 
observed  that,"Mondrian's  greatness  rests  in  his  prodi- 
gious effort  to  bridge  the  gap  between  factual  and  the  es- 
sential qualities  of  nature."'  But  McLaughlin  ultimately 
rejected  the  art  of  Mondrian  because,  to  his  mind,  the 
Dutch  artist  had  reduced  his  grasp  of  nature  to  a  single 
concept,  that  of  dynamic  equilibrium. 

=* Archives  of  American  Art,  "John  McLaughlin  Papers,"  Smith- 
sonian Institution,  Washington,  D.C.,  West  Coast  Area  Center, 
San  Francisco. 

"Ibid.      'Ibid. 


In  my  mind  there  may  be  some  reason  to  think 
that  he  failed  in  this  because  his  was  a  "concept" 
and  in  a  sense  a  discipline  involved  to  some  degree 
with  morality.  To  him  the  real  content  in  art  was 
"the  expression  of  pure  vitality  which  reality 
reveals  through  the  manifestation  of  dynamic  move- 
ment." In  this  concept  lies  the  paralyzing  element 
of  aggressive  logic* 

McLaughlin  applied  the  same  kind  of  penetrating 
analysis  to  his  study  of  Malevich.  He  particularly  admired 
Malevich's  painting  White  on  White.  Speaking  of  Malevich 
he  offered  high  praise  and  some  strong  objections: 

Here  we  witness  the  act  of  annihilation,  the  de- 
struction of  one  void  by  the  superimposition  of 
another  void.  Malevich  stated  that  his  black  square 
on  a  white  ground  "was  by  no  means  an  empty  space 
but  the  feeling  of  the  absence  of  an  object."  While 
these  paintings  are  singularly  devoid  of  intellec- 
tualization,  or  of  any  other  means  that  we  regard 
as  reasonable  means  of  communication,  they  are 
in  their  simplicity,  extraordinarily  compelling 
because  of  their  lack  of  a  guiding  principle.  In  other 
words,  all  resistance  to  the  fullest  possible  participa- 
tion was  removed." 
These  things  he  admired  and  we  see  them  reflected  in 
McLaughlin's  art,  but  even  so  he  voiced  significant  reser- 
vations about  the  physical  qualities  of  Malevich's  art 
and  suggested  an  alternate  stance,  one  which  he  was  to 
pursue  in  his  own  work:  "It  is  my  own  opinion  that  im- 
plementation of  this  profound  aesthetic  suffered  in  that 
the  destruction  of  form  takes  on  the  appearance  of  a 
physical  act.  This  is  in  contrast  to  the  more  effective 
means  of  destruction  by  implication."'" 

Some  of  the  most  difficult  qualities  to  understand 
and  accept  in  McLaughlin's  mature  painting  are  its 
quietude,  its  devotion  to  a  peculiar  form  of  symmetry,  its 
plain  craftsmanship,  and  the  strange  power  that  derives 
from  McLaughlin's  grasp  of  understatement  (cat.  nos. 
77-81).  He  said  that  he  wanted  his  forms  to  be  neutral 
and  that  his  desire  for  them  was  that  they  "destroy  them- 
selves by  implication."  Clearly,  for  McLaughlin,  it  was 
unworthy  of  an  artist  to  strive  for  physical  beauty  in  a 
painting;  even  less  to  be  admired  was  the  urge  for  self- 
expression.  He  viewed  it  as  "presumptuous  of  me,  or  even 
narcissistic  to  present  to  the  viewer  my  own  feelings."" 
He  was  not  trying  to  solve  any  problems  or  achieve  some 
new  style.  What  McLaughlin  appeared  to  seek  was  a 
state  of  silence  in  his  art,  a  type  of  focus  in  which  the 
viewer  would  be  encouraged  to  confront  himself  and  con- 
template his  own  relationship  to  nature. 

In  McLaughlin's  art  this  is  not  to  be  accomplished  by 
simply  telling  the  viewer  to  do  so,  but  by  removing  all 
specifics,  all  subjects,  all  theories,  all  forms  which  engage 
the  mind  and  prevent  it  from  seeing  things  whole.  This, 
then,  is  the  crucial  difference  between  McLaughlin's  ap- 
proach to  abstraction  and  that  of  most  other  abstract  art 
of  the  twentieth  century.  His  painting  was  not  created  to 


embody  some  spiritual  truth  but  to  attain  that  .state  of 
quietude  in  which  the  viewer  might  approach  wisdom  on 
his  own  terms.  As  McLaughlin  observed,  "Quite  naturally 
our  objective  is  to  attain  a  state  of  palpable  wisdom. 
The  real  danger  here  is  in  believing  that  this  has  been 
achieved."'^ 

If,  as  it  is  often  said,  Los  Angeles  has  experienced  a 
talent  drain  of  its  younger  painters  who  have  moved  to 
New  York  and  elsewhere,  it  has  also  been  extremely  for- 
tunate to  welcome  other  painters  of  great  stature  and 
vitality.  One  such  artist  is  Sam  Francis,  a  native  Califor- 
nian  who  was  born  in  San  Mateo  and  lived  in  virtually 
every  part  of  the  world  before  settling  in  Santa  Monica  in 
1962.  Francis'  grasp  of  color  and  space  is  truly  inimitable. 
No  other  painter  in  our  time  has  even  attempted  to 
achieve  the  wonderful  openness  Francis  can  give  to  a 
canvas  on  any  scale.  His  work  redeems  the  very  notion  of 
beauty  by  giving  bone  and  sinew  to  his  complex  passages 
of  color,  lending  them  dignity  and  articulation. 

Crucial  changes  had  occurred  in  Sam  Francis'  art 
just  prior  to  his  move  to  Santa  Monica.  The  interiors  of 
his  paintings  had  opened  and  lightened,  and  a  new  vocab- 
ulary of  forms  now  moved  with  buoyant  grace  within 
a  breath-filled  atmosphere.  Assessing  Francis'  achieve- 
ments of  the  early  sixties,  one  thinks  particularly  of  his 
brilliant  Blue  Balls  series  of  1960-62,  paintings  filled 
with  an  unusual  and  potent  dynamism.  Images  in  paint- 
ings have  traditionally  moved  across  the  plane,  from  left 
to  right  or  vice-versa.  The  Italian  Futurists  traced 
straight  linear  movements  in  vectors  indicating  speed. 
The  photographs  of  Muybridge,  the  experiences  of  the 
motion  picture,  and  centuries  of  Western  painting  (except 
perhaps  in  the  Baroque  era)  have  reinforced  our  pictorial 
conventions  for  movement  in  space.  In  Francis'  Blue 
Balls,  however,  we  witness  movement  as  it  typically  oc- 
curs in  nature.  One  form  revolves  around  its  own  axis, 
another  slides  through  space  on  a  subtly  curved  path, 
other  forms  hover  like  microscopic  particles  in  air  or  tiny 
organisms  alive  in  a  pool  of  water  His  forms  are  as  awk- 
wardly beautiful  as  the  legitimate  creations  of  nature, 
no  doubt  finding  their  authenticity  in  the  artist's  own 
understanding  of  the  biological  world. 

In  Los  Angeles  during  1963,  Francis  spent  a  pro- 
ductive period  at  the  Tamarind  Lithography  Workshop. 
Throughout  the  sixties  his  color  brightened  and  intensi- 
fied as  raw,  unmixed  pigments  were  juxtaposed  and  even 
overlapped  to  create  brash  new  combinations  allowing 
the  penetration  of  light.  By  the  end  of  the  decade,  Francis' 
work  projected  a  heightened  sense  of  drama  bordering 
on  severity.  He  pushed  his  vivid  areas  of  color  to  the  edge 
of  his  compositions,  laying  open  a  large  white  field  that 
Francis  has  likened  to  the  white  sails  of  a  great  ship.  Not 
only  did  his  interior  space  gain  in  importance,  but  the 
paintings  attained  a  state  of  tension  and  compression. 

The  intensity  of  this  time  can  best  be  .seen  in  the  em- 
phatic Berlin  Red  of  1968-70,  created  for  the  National- 
galerie  in  Berlin.  Powerfully  articulated  islands  of  dense 


"Ibid.      ^Ibid.      "'Ibid. 


'Ibid. 


^Ibid. 


color  stand  face  to  face  across  an  open  field  of  space.  Lush 
color  turns  sober  and  dramatic  as  dark  malachite,  blood 
red,  bright  orange,  blues,  and  greens  collide  and  sub- 
merge each  other  Working  on  a  vast  scale,  some  twenty- 
six  by  forty  feet,  Francis  achieved  in  Berlin  Red  an 
emotionally  charged,  deeply  evocative  image  of  human 
confrontation. 

Berkeley  of  1970  (cat.  no.  52),  in  the  collection  of  the 
University  Art  Museum  at  Berkeley,  is  characterized  by  a 
similar,  strongly  asymmetrical  space  with  dense,  rough- 
hewn  passages  of  pigment.  Here  Francis'  color  is  bright 
and  transparent,  dominated  by  clear  reds  and  red- 
purples.  We  experience  these  forms  as  constellations  in  a 
vast  field,  but  they  press  toward  each  other  across  a 
highly  charged  irregular  ground.  In  Looking  Through 
(cat.  no.  53)  of  the  same  year  a  new  structure  appears, 
one  that  ties  edge  to  edge  through  a  framework  of  strong 
diagonals.  With  this  and  other  related  canvases,  Francis 
made  a  major  move  toward  a  heavier,  firmer  structure, 
alive  with  fluid,  glowing  pigment. 

During  almost  two  decades  as  a  working  artist  in  Los 
Angeles,  Francis  has  lent  his  sophistication,  deep  social 
conviction,  and  lively  wit  to  the  artistic  community  of 
this  area.  More  than  any  other  artist  in  the  city,  Francis 
is  a  citizen  of  the  world;  his  outlook  as  an  artist,  like  his 
painting,  removes  and  erases  boundaries,  embraces  many 
cultures  and  makes  them  his  own.  His  achievements 
have  given  the  younger  members  of  the  community 
something  to  measure  themselves  against,  not  something 
to  imitate  but  a  generous  attitude  to  take  note  of  and 
comprehend. 

In  1966  Richard  Diebenkorn  moved  to  Santa  Monica 
from  the  Bay  Area.  A  much-admired  painter  of  major 
stature  who  had  exhibited  in  Southern  California  many 
times  and  had  already  played  a  part  in  the  artistic  life  of 
the  area,  Diebenkorn  set  up  his  studio  in  the  Ocean  Park 
section  of  Santa  Monica  and  accepted  a  teaching  post  at 
UCLA.  During  the  next  year,  1967,  he  embarked  upon  a 
new  group  of  paintings,  shifting  his  direction  from  a  rich, 
evocative,  abstract  form  of  figuration  to  a  new,  expansive 
abstraction  in  the  paintings  he  now  entitled  Ocean  Park 
(cat.  nos.  43-47). 

Among  the  enduring  qualities  of  Diebenkorn's  Ocean 
Park  period  has  been  his  ability  to  offer  the  viewer  an 
intense  experience  of  space,  light,  and  depth  within  an 
abstract  format.  Long  vertical  and  horizontal  lines  span 
his  compositions  from  edge  to  edge,  measuring  then 
declaring  their  dimensions,  teaching  the  eye  to  move 
quickly,  to  traverse  long  distances  with  assurance.  The 
work  is  powerful  and  clean  though  modified  by  complex 
tonal  passages  and  remnants  of  the  artist's  handwriting. 
Diebenkorn's  approach  to  the  canvas  is  assertive,  his 
process  is  reflective.  The  effect  of  scale  is  not  always 
determined  by  size.  Drawings  in  the  Ocean  Park  group 
are  often  massive  and  spacious,  while  some  of  the  larger 
canvases  are  quite  intimate  and  tangible.  The  final 
measurement  is  one  of  the  eye  and  the  mind,  based 
upon  perceived  equivalence  as  well  as  absolute  and 
measurable  scale. 


Diebenkorn's  Ocean  Park  paintings  present  an  expe- 
rience of  space  and  light  that  is  similar  to  experiences 
in  nature  but  intensified,  rendered  more  vivid  and  acces- 
sible. The  high  horizon  lines  of  these  paintings  are  un- 
bounded and  far-reaching,  the  space  beneath  is  deep  and 
limitless,  the  edges  of  the  paintings  open  rather  than 
enclose  interior  space.  Diagonal  cuts  provide  a  dramatic 
counterweight  to  his  horizontals  and  verticals,  seeming  to 
move  easily  beyond  one  plane  and  through  another 
Sensations  of  vastness,  rapid  passage  through  planes,  the 
strength  of  large  wedges  of  color — all  involve  physical 
experiences  beyond  the  actual  dimensions  of  the  painting, 
suggesting  an  encounter  with  real  space  that  might 
be  found  in  soaring,  in  aerial  mapping,  or  in  the  special 
qualities  of  the  landscape  of  the  western  United  States. 
But  in  the  Ocean  Park  paintings  such  space  is  not  distant 
and  reduced;  it  is  luminous,  immediate,  near  to  us,  and 
wedged  into  a  stable  structure. 

Responding  to  a  question  which  suggested  this  rela- 
tionship of  pictured  space  to  perceived  scale,  Diebenkorn 
replied,  "I  think  it  is  something  of  the  same  kind  of  thing 
that — who  was  it.  Fry  or  Bell? — who  said,  "significant 
form.'. . .  I  think  with  space  the  same  thing  can  be  ap- 
plied. You  don't  really  think  much  of  that  area  of  two- 
dimensional  space  until  it  is  related  in  such  a  way  that  it 
becomes,  their  word,  'significant,'  not  mine."'^ 

The  Ocean  Park  paintings  of  Richard  Diebenkorn, 
begun  in  the  late  sixties  and  continuing  to  the  present, 
are  a  profound  achievement,  a  powerful  synthesis  which 
reflects  the  maturity  of  a  lifetime  of  painting.  They  can- 
not be  placed  securely  within  any  decade,  being  the  prod- 
uct of  a  painter's  patient,  thoughtful  cultivation  of  a 
refined  and  vital  form.  Within  the  artistic  community  of 
Los  Angeles,  Diebenkorn  has  made  multiple  contribu- 
tions, most  significantly  of  course  as  an  artist  of  great 
breadth  and  vision,  as  a  man  of  exceptional  dignity  and 
humor,  and  as  one  who  shares  his  experience  of  the  work- 
ing process,  its  pleasures  and  pains,  with  fellow  artists 
as  both  teacher  and  friend. 

The  presence  of  artists  of  major  stature  is  important 
to  the  cultural  vitality  of  any  city,  as  artistic  achieve- 
ments give  character  and  form  to  historical  periods,  show 
us  ourselves,  and  become  the  living  record  of  our  time. 
The  splendid  natural  climate  of  Southern  California  has 
attracted  and  sustained  many  gifted  individuals,  and  it  is 
hoped  that  the  next  two  hundred  years  will  witness  a 
flowering  of  the  cultural  climate  to  rival  the  one  nature 
has  so  generously  provided. 

•'Conversation  with  the  artist,  July  1977. 


Christopher  Knight 


The  Word  Made  Flesh:  L.A.  Pop  Redefined 


It  is  by  now  well  known  that  much  of  what  was 
swept  up  into  the  dizzying  international  movement  called 
Pop  art  in  the  1960s  shares  only  the  most  superficial  of 
characteristics.  If  one  can  identify  a  "pure  Pop,"  surely  it 
is  the  work  of  Warhol,  Lichtenstein,  and  Rosenquist,  in 
which  the  ubiquitous  symbols  of  mass  culture  are  ren- 
dered with  techniques  derived  from  mass  communica- 
tions. Yet  artists  as  disparate  as  George  Segal  and 
Marisol,  Richard  Artschwager  and  George  Brecht,  R.  B. 
Kitaj  and  Larry  Rivers  were,  at  one  time  or  another,  seen 
through  the  lens  of  Pop. 

Among  the  artists  at  work  in  Los  Angeles  in  the 
early  and  mid-sixties,  Billy  Al  Bengston,  Joe  Goode,  Ed 
Ruscha,  and  David  Hockney  were  similarly  perceived.' 
The  first  three  were  included  in  such  exhibitions  as 
Walter  Hopps'  New  Painting  of  Common  Objects  at  the 
Pasadena  Art  Museum  (September  1962);  Six  More,  Law- 
rence Alloway's  addendum  to  Six  Painters  and  the  Object 
at  the  Los  Angeles  County  Museum  of  Art  (July  1963); 
and  John  Coplans"  Pop  Art,  USA  at  the  Oakland  Museum 
(September  1963).  Hockney,  who  first  came  to  Los  Angeles 
at  the  beginning  of  1964,  had  quickly  acquired  the  curi- 
ous appellation  of  "the  British  Andy  Warhol."  While  it  is 
true  that  those  artists  identified  with  Pop  shared  certain 
interests  in  topical  subject  matter,  the  work  of  these 
four  artists  is  vastly  different  from  that  of  Warhol,  Lich- 
tenstein, and  Rosenquist.  Indeed,  topicality  itself — the 
particularity  of  a  locale  or  place  at  a  certain  time — may 
account  for  the  unique  point  of  view  evident  in  the  art 
produced  in  Los  Angeles.  Bengston's  pristine,  sprayed 
lacquer  paintings  of  chevrons  and  irises  trapped  in  a  lumi- 
nous space;  Goode's  paintings  of  the  sky,  torn  in  layers 
or  captured  in  the  frame  of  an  actual  window;  Ruscha's 
hard-edged  manipulations  of  graphic  iconography;  and 
Hockney's  suburban  landscapes  with  their  harsh,  planar 
clarity — these  are  not  literally  images  of  mass  culture 
rendered  by  techniques  of  mass  communication,  al- 
though they  draw  on  the  shared  experiences  of  popular 
culture.  It  has  been  suggested  that  the  reason  for  this 
is  that  Los  Angeles  itself  is  as  close  as  one  can  get  to 
a  "pure  Pop"  environment;^  if  this  is  so,  it  is  reasonable  to 
assume  that,  as  an  expansionist  aesthetic,  as  a  way  of 
relating  art  to  the  environment.  Pop  art  in  Los  Angeles 
would  be  at  variance  with  work  produced  elsewhere. 

"Pop  art  is  neither  abstract  nor  realistic,"  Lawrence 
AUoway  has  written,  "though  it  has  contacts  in  both  di- 
rections."^ Abstract  knowledge  (the  conceptual  or  ideal)  is 
wedded  to  the  real  (material  presence  or  the  depiction  of 
objects).  A  unique  relationship  of  object  to  idea,  of  the 
real  and  the  ideal,  characterizes  much  American  art  from 

'Anthony  Berlant,  Llyn  Foulkes,  Phillip  Hefferton,  Robert 
O'Dowd,  and  Richard  Pettibone,  among  others,  have  also  been 
seen  in  this  context. 

^Peler  Plagens,  Siaiahine  Muse:  Contemporary  Art  on  the  V/et<t 
Coast,  New  York,  1974,  p.  1.39;  and  Nancy  Mariner,  Pop  An,  New 
York,  1966,  p.  140. 

■'Lawrence  Alloway,  American  Pop  Art,  Whitney  Museum  of 
American  Art,  New  York,  1974,  p.  3. 


the  late  eighteenth  century  to  the  present.  The  separate 
traditions  of  the  real  and  the  ideal  have,  at  various  times, 
become  .so  perfectly  overlaid  on  one  another  as  to  pro- 
duce what  has  been  termed  a  "conceptual  realism,"  a  pre- 
occupation with  things  amplified  by  concerns  with  light, 
space,  and  time  that  serves  to  make  the  real  somehow 
more  than  real."*  This  magical  union  of  idea  and  object 
takes  its  place  beside  the  late  Gothic  tradition  of  concep- 
tual realism  embodied  in  the  work  of  Jan  van  Eyck.  In  a 
sense,  the  secularization  of  Christianity  transposed  tra- 
ditional symbols  until,  by  the  mid-nineteenth  century, 
they  were  firmly  lodged  in  landscape  motifs.  The  convinc- 
ing means  of  expressing  religious  experience  that  had 
been  channeled  into  the  themes  of  Christian  art  were 
now  called  into  service  for  the  revelation  of  divinity  in 
nature.  For  instance,  van  Eyck's  God  the  Father  from  the 
Ghent  altarpiece  is  rendered,  with  the  new  medium  of  oil 
paint,  in  a  shimmering  splendor  of  color.  The  radiance 
of  gems,  the  brittle  luster  of  pearls,  and  the  tactility  of 
brocade  suggest  a  magical  scrutiny  of  the  microcosm  as  a 
vehicle  for  the  revelation  of  a  divine  macrocosm  personi- 
fied by  the  figure  of  God.^ 

The  translation  of  the  sacred  into  the  secular  in 
nineteenth-century  landscape  painting  finds  its  apogee  in 
Luminism,  the  most  indigenous  of  American  styles  (fig.  1). 
The  hard,  precise  light,  the  linear  clarity  of  rocks,  trees, 
and  surfaces  of  water,  the  unbroken  integrity  of  ob- 
jects raised  nature  to  a  higher  coefficient  of  reality.  The 
raw,  untouched  land,  sea,  and  sky  of  the  American  conti- 
nent (the  real)  was  perceived  as  the  New  Eden  (the  ideal). 

In  our  own  century  the  popular  mythology  of  the 
earthly  paradise  was  embodied  in  the  landscape  of  South- 
ern California.  The  reality  of  the  horizontal  expanse, 
the  limitless  sky,  and  the  shimmering  Pacific,  all  infused 
with  an  amorphous,  sun-bleached  light,  held  for  the 
twentieth  century  consciousness  the  possibility  of  becom- 
ing the  ideal.  If  nineteenth-century  Americans  had  no 
cultural  traditions  of  their  own,  no  ideal  past,  then  at 
least  they  had  their  ancient  trees.  And  if  the  semi-arid 
desert  of  Los  Angeles  had  no  cultural  traditions,  at  least 
there  was  the  technologically  inspired  dream  of  the  ideal 
future.  The  nineteenth-century  natural  Garden  exists  in 
Los  Angeles  as  an  invented  Garden.  Primeval  forests 
were  planted  as  clusters  of  imported  palms.  Virgin  lakes 
were  dug  and  contained  as  concrete  .swimming  pools  (fig.  2). 
Majestic  waterfalls  were  trapped  by  pipes  from  the  Owens 
Valley  and  reemerged  in  front  yard  lawn  sprinklers. 
Nature  became  a  vernacular  invention,  con.structed 
by  the  language  of  technology.  Nature  and  culture  were 
so  exactly  superimposed  as  to  obscure  one  another 
The  invented  "real"  fused  with  the  natural  "ideal"  in 
a  sun-drenched  luminescence. 

■■Barbara  Novak,  American  Painting  of  the  Nineteenth  Century, 
New  York,  1969;  Novak  discusses  the  nature  of  conceptualism 
and  the  object  in  nineteenth-century  American  painting  and 
suggests  provocative  relation.ships  to  contemporary  art. 

^Robert  Rosenblum.  Modern  Painting  and  the  Northern  Roman- 
tic TradUion:  Friedrich  to  Rolhko,  New  York,  1975,  p.  16 


Fig.  1 

Anonymous  American 

Meditation  by  the  Sea, 

c.  1850-60 

Oil  on  canvas 

1.3 '/2  X  19'/2  in.  (34.3  x  49.5  cm.) 

Museum  of  Fine  Arts,  Boston, 

M.  and  M.  Karolik  Collection 


Fig.  2 

David  Hockney 

Portrait  of  an  Artist  (Pool  with 

Two  Figures),  1971 

Acrylic  on  canvas 

84  X  120  in.  (214  x  275  cm.) 

©  David  Hockney 

Courtesy  Petersburg  Press 


The  Los  Angeles  landscape  consists  of  the  conflicts 
and  confusions  between  nature  and  culture.  "California  is 
two  separate  things,"  John  Baldessari  has  said,  "the  real- 
ity and  the  state  of  mind."  This  landscape  was  the  subject 
of  much  art  of  the  sixties  and  seventies.  In  Los  Angeles, 
the  tradition  of  the  visual  arts  is  the  tradition  of  movies 
and  television,  of  billboards  and  advertising  (fig.  3).^ 
These  traditional  visual  arts  take  the  shape  of  a  vernacu- 
lar narrative:  the  word  (the  Hollywood  sign)  is  superim- 
posed on  nature  (the  hills). 

In  the  static  art  of  painting,  this  flow  of  narrative 
visualization  becomes  the  frozen  absolute  of  the  sign,  the 
symbol,  and  the  common  object.  Time  stops,  becoming 
timeless  and  contained,  and  the  narrative  is  embodied  in 
the  transcendent  object,  in  actionless  existentialism.  The 
word  is  made  flesh,  the  jump  from  word  to  idea  is  made 
by  way  of  the  thing.'' 

An  orientation  to  the  "thing"  pervades  the  work  of 
Bengston,  Goode,  Ruscha,  and  Hockney.  The  physical  work 
of  art  as  both  object  and  image  is  restated  in  Bengston's 
choice  of  subject  matter,  typified  by  the  chevron.  His 
endless  layers  of  highly  polished  spray  lacquer  give  his 
paintings  of  the  early  sixties  (cat.  nos.  10-22)  an  undeni- 
able corporeality  that  becomes  even  more  evident  in 
the  later  "dentos"  (fig.  4),  painted  sheets  of  aluminum 
pounded  and  gouged  with  a  hammer.  The  central  image 
of  a  chevron  also  hovers  between  the  abstract  quality  of  a 
symbol  and  the  physical  reality  of  a  military  badge.  The 
material  bent  of  Bengston's  work  may  in  part  be  traced  to 
the  influence  of  Richard  Diebenkorn,  with  whom  he 
studied  in  1955  ("Diebenkorn  showed  me  how  I  might 
physically  approach  a  painting");*  to  his  friendship  with 
Ken  Price  and  study  of  ceramics  with  Peter  Voulkos 
at  the  Otis  Art  Institute  in  1956;  and  to  his  admiration 
for  the  similarly  ambiguous  "physical  images"  of 
Jasper  Johns. 

Joe  Goode  also  acknowledges  his  interest  in  the  work 

''Kim  Levin,  "Narrative  Landscape  on  the  Continental  Shelf: 
Notes  on  Southern  California,"  Ar(s  Magazine,  vol.  51,  no.  2, 
October  1976,  pp.  94-97. 

'''Novak, American  Painting,  p.  22. 

Barnes  Monte,  Billy  Al  Bengston,  Los  Angeles  County  Museum 
of  Art,  1968,  n. p. 


of  Johns.^  Goode,  whose  art  has  been  compared  to  that  of 
the  nineteenth-century  trompe  I'oeil  painters  John  Peto 
and  William  Harnett  (fig.  5),  progressively  incorporated 
common  objects  into  his  paintings  until  the  paintings 
themselves  became  objects.i"  The  early  milk  bottle  paint- 
ings (fig.  6)  included  a  real  but  hand-painted  glass  bottle 
standing  before  a  loosely  brushed,  painterly  canvas.  On 
occasion,  the  canvas  carried  a  painted  "ghost  image"  of 
the  bottle.  In  his  1963  series  of  house  paintings,  the  image 
was  traced  from  photographic  reproductions  in  the  real- 
estate  section  of  newspapers  and  transferred  to  tactile 
fields  of  brushy  paint.  Goode's  "cloud  triptychs"  and  "un- 
made bed"  paintings  (cat.  nos.  55-57)  extended  this  object 
orientation  to  encompass  the  entire  painting.  Images  of 
the  sky  were  encased  in  muUions  and  set  behind  Plexiglas, 
making  the  ephemeral  sky  a  concrete  object  seen  from 
a  concrete  window.  The  "ghost  image"  reappears  in  these 
works  in  the  form  of  twisted  or  torn  drawings  of  unmade 
beds  or  Polaroids  of  the  sky,  distressed  images  that  un- 
derscore their  material  quality.  The  conundrum  is  stated 
in  reverse  in  two  series  of  staircases  constructed  in  1964 
and  1971.  The  staircases,  aligned  against  walls  or  in  cor- 
ners in  the  manner  of  relief  sculpture,  are  too  narrow  and 
constricted  to  be  walked  on  and  physically  experienced. 
Rather,  they  are  things  that  must  be  visually  perceived 
and  conceptually  experienced." 

Ed  Ruscha,  who  grew  up  and  went  to  school  with 
Goode  in  Oklahoma  City,  almost  literally  approaches  the 
notion  that  the  jump  from  word  to  idea  is  made  via  the 
thing,  a  notion  first  stated  by  the  eighteenth-century 
New  England  theologian  Jonathan  Edwards.  Ruschas 
hard-edged  word  paintings,  begun  while  he  was  a  student 
at  Chouinard  in  1961-62,  incorporated  word  environ- 
ments: the  logo  of  20th  Century-Fox  and  gas  stations 
dominated  by  trademarks.  Like  Johns'  use  of  the  word  as 
object  in  paintings  such  as  Tennyson,  Ruscha's  words  are 
divorced  from  contextual  meaning;  they  are  rendered 
either  in  imitation  of  physical  substance  (maple  syrup, 
water)  as  in  Steel  (fig.  7)  or  by  the  use  of  actual  physical 
substance  (gunpowder).  Henry  Hopkins  has  noted  that, 
given  Ruscha's  commercial  art  training  and  his  sense  of 
composition  and  design,  it  may  at  first  seem  peculiar  that 
he  chose  to  deal  with  figurative  subject  matter  rather 
than  abstract  formalism:  "Perhaps  the  reason  is  quite 
simple.  Things  mean  something  to  Ruscha — things  to  be 


"Goode,  according  to  Henry  Hopkins,  saw  and  wanted  to  buy 
a  Jasper  Johns  lithograph,  Coathanger,  which  was  shown  at  the 
Everett  Ellin  Gallery.  Unable  to  afford  the  $75  purchase  price, 
Goode  made  his  own  print  of  a  screwdriver  "in  the  manner 
of  Johns."  See  Henry  T.  Hopkins,  Joe  Goode:  Work  until  Now, 
Fort  Worth  Art  Center  Museum,  Texas,  1972. 

•"Philip  Leider,  "Joe  Goode  and  the  Common  Object"  Art  forum, 
vol.  4,  no.  7,  March  1966,  pp.  24-27 

"Michele  D.  De  Angelus,  "Isolated  Imagery;  Joe  Goode,"  Los 
Angeles  Institute  of  Contemporary  Art  Journal,  no.  20,  October 
1978,  pp.  34-35. 


26 


Fig.  3 

Edward  Ruscha 

Hollywood,  1968 

Silkscreen 

llVz  X  44'/2  in. 

(44.5x113.1  cm.) 

Collection  Douglas  Cramer 


Fig.  4 

Billy  Al  Bengston 

John. 1966 

Polyurethane,  lacquer, 

aluminum 

34  x31  in.  (86.3x78.8  cm.) 

Sterling  Holloway  Collection 


am  Harnett 

3W  Cupboard  Door,  1889 

n  canvas 

<41  in.  (154.9  X  104.2  cm.  I 

es  Art  Gallery,  Sheffield, 

and 


Fig.  6 

Joe  Goode 

Milk  Bottle  Painting  (Happy 

Birthday),  1961-62 

Oil  on  canvas  with  object 

67  x  67  in.  (170.2  x  170.2  cm.) 

Janss  Foundation,  Thousand 

Oaks,  California 


%i^ 


Fig.  7 

Edward  Ruscha 

Steel.  1960s 

Oil  on  canvas 

60  X  54  in  (152.4  x  137.2  cm.) 

Collection  Walker  Art  Center, 

Minneapolis. 

Purchased  with  the  aid  of 

funds  from  The  Clinton  and 

Delia  Walker  Accessions  F\ind 

and  the  National  Endowment 

for  the  Arts 


recorded  and  collected  through  time."'''^  This  interest  is 
clearly  seen  in  his  books  such  as  Every  Building  on  the 
Sunset  Strip,  Tiventy.fix  Gasoline  Stations,  Thirtyfour 
Parking  Lots  in  Los  Angeles,  and  Royal  Road  Test  (all 
1966-67)  (cat.  nos.  107-110).  The  photographs  in  these 
books  are  "dumb,"  uncomposed  snapshots,  cropped  to  sup- 
port the  layout  of  the  book  rather  than  to  manipulate 
the  content  of  the  image.  Attention  is  focused  on  layout, 
typography,  scale,  sequence — in  short,  on  the  physical 
properties  of  the  object.  "They  are  simply  a  collection  of 
'facts,'"  he  has  said.  "One  of  the  purposes  of  my  books  has 
to  do  with  making  a  mass-produced  object."'^  Royal  Road 
Test,  which  records  the  event  of  hurling  a  typewriter  from 
the  window  of  a  speeding  car,  is  of  particular  interest. 
The  "words"  of  the  narrative  are  photographs  (signifi- 
cantly, photographs  of  a  typewriter)  that  are  objectified 
in  the  book  in  much  the  same  manner  that  the  word 
"Steel"  is  written  in  a  painted  illusion  of  liquid  in  a  late 
1960s  painting. 

This  interest  in  real  things  also  occurs  in  David 
Hockney's  choice  of  subject  matter  "The  one  thing  that 
had  happened  in  Los  Angeles,"  the  artist  has  stated,  "was 
that  I  had  begun  to  paint  the  real  things  that  I  had  seen: 
all  the  paintings  before  that  were  either  ideas  or  things 
I'd  seen  in  a  book  and  made  something  from.""  This  new 
attraction  to  real  things  as  the  subject  of  his  art  devel- 
oped between  1964  and  1966,  and  can  be  seen  in  the  shift 
from  the  pure  invention  of  forms  in  California  Art 
Collector  to  the  specific  portraiture  and  landscape  of 
Beverly  Hills  Housewife  (cat.  no.  58)  and  Portrait  of  Nick 
Wilder.  While  speculation  on  why  Hockney's  arrival  in 
Los  Angeles  occasioned  this  shift  in  focus  is  risky,  it  may 
not  be  presumptuous  to  suggest  that  popular  mythology 
about  the  place,  disseminated  through  the  channels  of 
popular  culture  (and  in  Hockney's  case,  specifically 
through  magazines  likeP/!ys;(7;/e  Pictorial),  turned  out  to 
be  less  fiction  than  fact.  Los  Angeles,  Hockney  has  noted, 
was  "just  how  I  imagined  it  would  be."''' 

The  physical  materials  with  which  Hockney  was 
working  at  the  time  changed  as  well,  from  oils  to  the 
clear,  intense  colors  of  acrylic  paint.  The  hard-edged, 
usually  unmodulated  areas  of  color  reinforce  the  frontal, 
planar  organization  of  space  in  these  paintings.  In  a 
nearly  classicist  manner,  foreground,  middle  ground,  and 
background  are  delineated  in  brittle  planes.  A  similarly 
frontal  and  planar  organization  of  space  dominates  the 
work  of  Bengston,  Goode,  and  Ruscha,  and  combines  with 
a  clear  spatial  organization  of  depicted  (or  actual)  objects. 

'■-'Henry  T  Hopkins,  Joe  Goode  and  Edward  Ruxcha,  The  Fine 
Arts  Patrons  of  Newport  Harbor,  Balboa  Pavilion  Gallery,  Cali- 
fornia, 1968,  n.p. 

'■'John  Coplans,  "Concerning  'Various  Small  Fires':  Edward 
Ruscha  Discusses  His  Perplexing  Publications,"  A rt/brum,  vol.  3, 
no.  5,  February  1965,  pp.  24-25. 

'•"Nikos  Stangos,  ed.,  David  Hockney  by  David  Hockney,  New 
York,1977,  p.  104. 

'Mbid.,  p.  97 


Through  this  hierarchy  of  placement,  matter  becomes  an 
extension  of  mind. 

Many  of  these  paintings  also  evince  the  selection  of  a 
moment  and  its  elevation  to  an  Emersonian  "concen- 
trated eternity."'"'  We  see  our  reflections  pass  by  in  the 
window  panes  of  Goode's  sky  paintings,  but  the  sky  is 
immobilized.  Hockney's  three  paintings  of  the  moment  of 
a  splash  in  a  swimming  pool,  inspired  by  a  photograph  in 
a  book,  are  frozen  in  time.  Bengston's  iris  shape  derives, 
according  to  James  Monte,  from  the  animation  form  used 
by  Hollywood  technicians  to  depict  the  moment  of  trans- 
formation from  bat  to  human  in  the  film  Dracula."  The 
frozen  moment  and  the  palpable  object,  the  precisionist 
and  anonymous  surface  fill  these  paintings  with  a  re- 
markable silence,  a  silence  quite  unlike  the  aggressive 
shriek  of  psychedelic  Pop.  Even  Ruscha's  trumpeting 
typography  of  the  word  "noise"  in  Noise,  Pencil,  Broken 
Pencil,  Cheap  Western  (1966)  (cat.  no.  102)  is  reduced  to 
the  snap  of  a  cracking  pencil,  and  the  hard,  lacquered 
sheen  of  Bengston's  Bi/s/er  (1962)  (cat.  no.  11)  is  a  glaze 
that  captures,  like  a  fly  in  amber,  softly  glowing,  lumi- 
nous orbs  of  color.  A  decidedly  lyrical  quality  pervades 
much  of  this  work. 

Critically  misperceived  according  to  formalist  canons 
is  the  high  degree  of  surface  finish  that  cuts  right  across 
style  in  Los  Angeles  art  of  the  1960s.'**  The  so-called  "L.A. 
Look,"  to  use  Peter  Plagens'  definition,  "refers  generically 
to  cool,  semi-technological,  industrially  pretty  art  made 
in  and  around  Los  Angeles  in  the  sixties  by  Larry  Bell, 
Craig  Kauffman,  Ed  Ruscha,  Billy  Al  Bengston,  Kenneth 
Price,  John  McCracken,  Peter  Alexander,  DeWain  Valen- 
tine, Robert  Irwin,  and  Joe  Goode,  among  others."'^  This 
definition,  however,  belies  the  quiet  lyricism  of  much  of 
the  work,  a  lyricism  that  could  be  described  as  an  almost 
transcendent  approach  toward  the  perfection  of  the 
object.  This  obsessively  perfectionist  approach,  however, 
does  not  mean  that  materials  and  techniques  are  the  sub- 
ject of  the  art.  Rather,  it  reveals  an  attitude  toward  mak- 
ing art  that  is  charged  with  an  idealism  concerning  the 
object.  As  James  Jackson  Jarvis  said  of  the  methods  of 
the  Hudson  River  painters:  "With  singular  inconsistency 
of  mind  they  idealize  in  composition  and  materialize  in 
execution."^" 

'"Alfred  Kazin  and  Daniel  Aaron,  eds.. Emerson:  A  Modern 
Anthology.  Boston,  1958,  p.  122. 

"Monte,  Bengston,  n.p.  It  is  tempting  to  assume  that  this  story  is 
apocryphal.  However,  many  of  Bengston's  paintings  from  1960- 
65  are  titled  with  names  of  movie  actors;  Big  Duke,  Ava,  Ingrid 
(all  1960);  Tyrone  a96l);  Boris.  Humphrey  (both  1963);  Alfalfa 
(1964);  Chaney  (1965).  Also,  the  central  curved-lozenge  form  sur- 
rounded by  glowing  circles  in  such  1963  paintings  as  Beta  and 
Bushy  is  similar  to  a  movie  marquee  and  is  currently  in  use  in 
"Coming  Attractions"  film  trailers. 

■yohn  Coplans,  West  Coast  1945-69.  Pasadena  Art  Museum, 
California,  1969,  n.p 

"Plagens,  Sunshine  Muse.  p.  120. 


It  is  interesting  to  note  that  the  exploration  of  new 
painting  materials,  of  acrylic  and  plastic  and  automobile 
lacquers,  corresponds  to  similar  experimentation  at  ear- 
lier periods  of  interest  in  conceptual  realism.  It  is  well 
known  that  van  Eyck  exploited  the  glowing  color  possible 
in  glazes  of  the  then  newly  rediscovered  medium  of  oil 
paint  (so  much  so  that  he  was  long  credited  with  having 
"invented"  the  technique).-'  Perhaps  less  well  known  is 
the  invention  of  a  host  of  new  chemically  based  paints,  in 
addition  to  the  traditional  earth  and  vegetable  pigments, 
that  emerged  in  the  1850s  and  accompanied  the  develop- 
ment of  a  Luminist  mode.^^ 

Equally  significant  is  the  fact  that,  in  the  generation 
of  the  mid-nineteenth  century,  American  painting  was 
truly  a  popular  art.  Its  diverse  interests  were  those  of  its 
public,  and  its  style,  as  E.  P.  Richardson  has  noted,  "was 
simple,  transparent,  and  easily  grasped.  The  aesthetic 
problems  that  interested  painters  led  toward  heightening 
and  deepening  the  common  consciousness  rather  than 
breaking  away  from  it."^^  Likewise,  Pop  art  in  the  1960s 
found  strength  in  the  shared  experiences  of  the  culture 
at  large.  But  despite  points  of  congruence,  the  work  of 
Bengston,  Goode,  Ruscha,  and  Hockney  differs  substan- 
tially from  that  of  Warhol,  Lichtenstein,  and  Rosenquist, 
largely  through  the  former's  adherence  to  a  unique 
relationship  of  object  to  idea,  of  the  real  and  the  ideal. 

Conceptual  realism,  the  Eyckian  notion  of  a  magical 
scrutiny  of  the  microcosm  as  a  vehicle  for  the  revelation 
of  the  macrocosm,  persisted  in  the  nineteenth-century 
Luminist  landscape.  By  the  1930s,  that  sharp-focused, 
planar,  frontal,  smooth-surfaced,  anonymous,  timeless,  un- 
broken integrity  of  natural  objects  in  the  landscape  had 
been  transposed  to  the  man-made  objects  of  the  industrial 
landscape.  The  machines  and  factories  of  Precisionist 
paintings  were  rendered  with  the  clear  silence  of  a  tran- 
scendentalist  vision.  In  the  1960s,  that  magical  scrutiny 
still  persisted  in  the  sharp-focused,  planar,  frontal, 
smooth-surfaced,  anonymous,  timeless,  unbroken  integ- 
rity of  the  narrative  landscape,  the  transcendentalism 
of  the  vernacular  language  of  the  sign,  the  symbol,  and 
the  common  object.  Pop  art  in  Los  Angeles  is  heir  to  the 
tradition  of  conceptual  realism. 


^'Fidel  Danieli  has  discussed  Bengston's  spray  technique  in  this 
light;  "One  is  reminded  of  the  ancient  Western  tradition, 
moribund  for  a  century,  of  endless  gradations  of  oil  and  varnish 
fully  exploited  by  the  primitive  Flemish."  See  Fidel  A.  Danieli, 
"Billy  Al  Bengston's 'Dentos,''Ar//brum,  vol.  5,  no.  9,  May  1967, 
pp.  24-27. 

-^E.  P.  Richardson,  A  Short  History  of  Painting  in  America:  The 
Story  of  450  Years,  New  York,  1963,  pp.  157-59. 


"Ibid.,  p.  159. 


-"Novak,  A men'ca/i  Pointing,  p.  82. 


Michele  D.  De  Angelus 


Visually  Haptic  Space: 

The  Twentieth  Century  Luminism 

of  Irwin  and  Bell 


As  legend  would  have  it,  Los  Angeles  is  a  borderless 
urban  sprawl  transversed  by  a  tangle  of  freeways,  a  city 
without  a  fulcrum,  oozing  toward  its  confining  mountains 
and  beyond,  beneath  smoggy  or  painfully  light-saturated 
skies.  It  is  Lotusland,  where  the  catharsis  of  group  en- 
counters, Rolfing,  and  est  come  together  with  the  pleasures 
of  hot  tubs,  Malibu  Beach,  and  the  Sunset  Strip.  Home 
of  Disneyland,  Hollywood,  and  the  aerospace  industry, 
where  the  climate  and  luxuriant  sensuality  of  the  Mediter- 
ranean have  been  sanitized  and  packaged  by  the  film 
industry  as  the  American  Dream,  Los  Angeles  is  the 
heartland  of  the  future. 

The  city  particularly  sustains  this  role  in  the  popular 
imagination  as  the  edge  where  all  that  is  zany,  danger- 
ous, offbeat,  and  experimental  comes  to  rest  after  shaking 
loose  or  being  forcibly  extradited  elsewhere.  In  Los 
Angeles,  so  the  cultural  mythology  would  have  it,  these 
things  take  root  and  thrive.  In  the  American  mind. 
Southern  California  is  the  frontier 

Within  this  ambience  grew  up  an  art  predicated  on 
the  Southern  California  environment  —  the  sea,  desert, 
and  sky.  An  art  of  light,  space,  and  color,  its  aim  and 
preoccupation,  like  that  of  Narcissus,  was  alleged  to  be 
transparency  and  reflection.  Supposedly  born  of  a  union 
of  the  new  aeronautical  technology  and  eastern  religious 
philosophies,  it  was  purportedly  midwifed  by  the  daz- 
zlingly  clear,  intense  light  and  atmospheric  haze  of  L.A.'s 
urban  sprawl  and  freeway  snarl.  Since  this  new  art  showed 
a  predilection  for  difficult,  sophisticated  techniques 
and  for  shiny  space-age  materials  of  glass,  plastic,  and 
metal,  its  mentors  were  assumed  to  be  NASA  and  the 
automotive  body  shop.  It  was  portrayed  in  contemporary 
criticism  as  a  latter-day  Impressionism,  flourishing  in 
the  capital  of  the  Me  Generation,  fed  on  hedonism  and 
health  food. 

It  is  this  art — the  so-called  "plastic  presences"  of 
Alexander,  Kauffman,  and  Valentine,  the  illusive  glass 
tonnage  of  Bell,  the  ephemera  of  Irwin,  Orr,  Nordman, 
Asher,  Turrell,  and  others — that,  more  than  any  other 
art,  has  come  to  embody  the  myths  of  West  Coast  culture 
in  the  national  and  international  art  world. 

Although  "Transparency,  Reflection,  Light,  Space"' 
have  occupied  many  significant  Southern  California  art- 
ists working  with  plastics  or  "situational"  installations, 
this  does  not  imply  a  coherent  aesthetic  movement  or 
language.  The  real  issues  are  to  be  found  in  something 
other  than  the  common  use  of  certain  materials,  tools,  or 
methods  of  presentation.^  Even  within  the  seemingly 
homogeneous  intangibles  made  by  Robert  Irwin,  Michael 
Asher,  James  Turrell,  Maria  Nordman,  and  Eric  Orr, 

'Title  of  an  exhibition  and  catalog  presented  by  the  UCLA  Art 
Galleries,  January  11- February  14, 1971,  which  included  the  work 
of  Peter  Alexander.  Larr>'  Bell,  Robert  Irwin,  and  Craig  Kauffman. 
(Catalog  foreword  by  Frederick  S.  Wight;  artist  interviews.) 

■^Among  the  first  to  make  valuable  distinctions  about  Southern 
California  art  in  the  sixties  was  Jane  Living.ston  in  "Two 
Generations  in  Los  Angeles,"  Art  in  America,  vol.  57,  January- 
February  1969,  p.  94. 


the  intentions,  meaning,  and  success  of  the  work  vary 
significantly  between  artists'  oeuvres. 

Historically  as  well  as  tangibly,  this  is  an  elusive 
art.  When  collectively  discussing  these  works,  particularly 
those  of  Irwin  and  others,  the  historian,  confined  to  the 
symbolic  generalizations  of  the  written  language,  strives 
futilely  to  reconstruct  what  is  already  legendary.  Though 
made  only  within  the  last  decade,  most  ofthe.se  works 
are  as  nonexistent  and  as  mythical  as  ancient  Greek 
painting.  Beyond  the  specifics  of  their  time  and  place  of 
creation,  they  are  perpetuated  through  memory  and  oral 
myths.  Shreds  of  the  works'  essences  are  caught  in  the 
critical  writings  like  the  skeletal  remains  of  a  caged  bird. 
The  life  of  this  art  persistently  evades  the  photograph 
and  the  printed  word. 

Though  different  in  its  avowed  intent  and  apparent 
illusionism,  this  evasive  character  is  equally  true  for  the 
multi-ton  plate-glass  sculptures  of  Larry  Bell  and  the 
"situations"  conjured  by  Robert  Irwin  from  a  handful  of 
black  string  or  a  few  yards  of  nylon  scrim.  Bell's  works 
and  those  constituting  the  researches  of  Irwin  have  given 
impetus  to  an  art  of  the  phenomenological,  grounded  on 
the  idea  that  the  aesthetic  act  is  best  consummated  on  a 
prelinguistic  level  of  pure  sensation  and  perception. 
The  progress  of  their  work  appears  the  most  consistently 
influential  for  artists  of  that  inclination  in  Los  Angeles 
and  elsewhere. 

Paradoxically,  this  strain  of  California  work  had  its 
origins  in  the  decade  of  the  sixties,  at  a  time  when  the 
strength  of  art  defined  as  discrete  consumable  object  was 
at  its  apogee.  The  primacy  of  the  object  during  that  era 
was  such  that  its  physical  qualities  were  critically  read 
as  the  imperative  for  the  formative  process,  art's  subject 
and  its  content.  Formalism  reigned  supreme.  Perhaps  not 
surprisingly,  with  this  uncompromising  emphasis  on 
the  formal  qualities  of  a  work  of  art  came  the  necessity  to 
expand  the  dimensions  and  formal  possibilities  of  paint- 
ings.'' The  easel  painting  of  Pollock,  Newman,  and  Still 
had  already  become  wall-sized  canvases;  with  Stella, 
Flavin,  Bladen,  Art.schwager,  and  others,  painting  became 
sculpture;  sculpture  was  subsumed  by  architecture  and 
engineering  for  Smithson  and  Heizer  Against  this  prevail- 
ing formalist  tide,  Robert  Irwin  and  Larry  Bell  wrestled 
their  way  toward  their  mature  concerns  of  the  seventies. 

During  the  1960s  Robert  Irwin  and  Larry  Bell  num- 
bered among  the  irascible,  independent,  sometimes  phys- 
ically violent  group  of  artists  for  whom  the  Ferus  Gallery 
and  Barney's  Beanery  served  as  social  nuclei.  Los  Angeles 
in  that  decade  offered  only  the  most  anemic  of  art  envi- 
ronments. Eccentric  and  highly  personal  art  works 
emerged  without  benefit  of — and  perhaps  due  to  the 
lack  of — cultural  density,  historicity,  or  a  substantial 
critical  or  stylistic  dialectic.  The  dialogue  between  artists 
had  little  to  do  with  art:  "We  didn't  talk  the  art  out.  If  we 
sat  around  the  Beanery,  we  talked  about  who  was  a  good 

^Lucy  R.  Lippard,  "As  Painting  Is  to  Sculpture:  A  Changing  Ratio," 
American  Sculpture  of  the  Sixties,  ed  Maurice  l\ichman.  Los 
Angeles  County  Museum  of  Art,  1967,  p.  32. 


Fig.l 

Larry  Bell 

Little  Blank  Riding  Hood,  1962 

Oil  on  canvas 

65x65  in.  (165.1x165.1  cm.) 

Sterling  Holloway  Collection 


fuck  and  where  we  were  going  to  get  the  six  dollars  so  we 
could  buy  gas  for  a  car  to  go  to,  you  know,  the  Valley  and 
get  drunk.  It  was  a  whole  different  thing.""  Art  maga- 
zines were  a  more  visually  informative  resource  than  art 
museums  or  galleries.  In  the  face  of  an  indifferent  if  not 
hostile  milieu,  the  necessity  to  develop  and  project  a 
tough,  distinctive,  coherent  persona  was  common  to  all  in 
the  Ferus  group.  Bell  and  Irwin  were  not  exceptions. 

In  a  city  with  few  artistic  institutions  and  role  models, 
the  company  of  one's  peers  was  of  extreme  importance 
in  shaping  professional  direction  and  ambition.  The  rules 
were  few  but  rigorous,  tinged  with  a  kind  of  moral 
imperative  that  has  characterized  West  Coast  artmaking 
in  talents  as  diverse  as  Clyfford  Still  and  Bruce  Nauman. 
Irving  Blum  describes  the  Ferus  group  as  "very,  very 
isolated  to  begin,  and  at  the  same  time  very  critical  of 
each  other  . .  .You  have  to  remember  that  they  were  the 
only  audience  they  had. . .  .They  kind  of  relied  on  each 
other,  and  they  were  extremely  positive,  one  to  the  next; 
they  were  critical,  yet  supportive  at  the  same  time."^ 

Irwin  cites  Billy  Al  Bengston,  Ed  Moses,  Craig  Kauff- 
man,  and  later  Ken  Price  as  contributing  significantly 
to  his  artistic  sophistication.  As  he  recalls,  "those  two  or 
three  people  had,  in  a  sense,  more  to  do  with  my  education 
than  any  school  that  I  went  to  or  any  activity  that  I 
had."^  For  Bell,  too,  certain  individuals  of  the  Ferus  group 
were  primary  influences,  instrumental  in  shaping  and 
reinforcing  his  personal  ambitions. 

Local  academicism  and  a  mannered  but  tenacious 
Abstract  Expressionism  held  sway  in  Los  Angeles  art  of 
the  late  1950s  when  Robert  Irwin,  teaching  at  the 
Chouinard  Art  Institute  from  1957  to  1958,  encountered 
Larry  Bell  as  a  student.  Irwin's  enormous  pedagogical 
influence  begins  in  these  years.  His  obvious  talent  and 
commitment  were  impressive  to  his  students  at 
Chouinard;  his  emerging  belief  in  the  power  and  integ- 
rity of  artistic  inquiry  was  already  in  evidence.  Irwin's 
relationship  with  Bell  has  been  ongoing,  subtle,  and  per- 
vasive. Recognizing  Bell's  "extraordinary  possibility," 
Irwin  devoted  considerable  amounts  of  time  and  atten- 
tion to  him.''  At  a  certain  point,  he  encouraged  the 

•"Interview  with  Edward  Kienholz  conducted  by  Lawrence 
Weschler  between  June  1, 1975,  and  March  31, 1977,  part  of  the 
series  Las  Angeles  Art  Community:  Group  Portrait,  produced 
under  the  auspices  of  the  UCLA  Oral  History  Program,  transcript 
no.  300/152,  Department  of  Special  Collections,  UCLA  Research 
Library,  p.  208. 

^Interview  with  Irving  Blum  conducted  by  Joanna  Phillips  and 
Lawrence  Weschler  between  December  27, 1976,  and  January  3, 
1979,  Los  Angeles  Art  Community:  Group  Portrait,  UCLA  Oral 
History  Program,  transcript  as  yet  unnumbered.  Department  of 
Special  Collections,  UCLA  Research  Library,  p.  55. 

^Interview  with  Robert  Irwin  conducted  by  Frederick  S.  Wight 
between  July  1, 1975,  and  March  31, 1977  Los  Angeles  Art  Com- 
munity: Group  Portrait.  UCLA  Oral  History  Program,  transcript 
no.  300/152,  Department  of  Special  Collections,  UCLA  Research 
Library,  p.  13. 

'Blum  interview,  p.  133. 


younger  artist  to  leave  school  to  work  as  a  professional  on 
his  own,  and  Irwin  was  later  instrumental  in  bringing 
him  into  the  Ferus  Gallery  in  the  early  sixties. 

Earlier,  in  1957,  when  associated  with  the  Felix 
Landau  Gallery,  Irwin  had  exhibited  competently  painted 
beach  scenes  and  landscapes  remembered  by  dealer 
Irving  Blum  as  being  of  notably  "curious  organization."^ 
Surprisingly,  Irwin  recalls  that  at  that  time  he  had  little 
or  no  awareness  of  the  work  of  Pollock  or  the  achieve- 
ments of  the  New  York  School.^  Two  years  later,  in  1959, 
Irwin  had  switched  over  to  the  Ferus  Gallery  with  a  one- 
man  show  of  large  gestural  abstract  paintings.  Like  Bell's 
works  of  that  year,  these  heavily  impastoed  canvases 
are  remarkable  only  for  a  rich  and  intimate  intensity. 

In  the  early  1960s  Los  Angeles  art  began  to  attract 
national  attention,  and  a  sluggish  but  bona  fide  art  mar- 
ket began  to  simmer  The  art  of  Irwin  and  Bell  swung 
into  its  stride  during  these  same  years.  The  objects  made 
by  both  men  in  the  opening  years  of  the  decade  employed 
the  current  formalist  vernacular  of  flatness,  mono- 
chromism,  taciturn  and  pristine  hard-edged  geometric 
forms,  and  were  consequently  counted  as  part  of  the 
reductivist  impulse  called  Minimalism.  But  in  the  works 
of  these  years — Irwin's  line-  and  dot  paintings,  and  Bell's 
monochrome  canvases  and  the  mirrored  and  glazed  boxes 
— both  artists  began  to  divert  the  prevailing  vernacular 
so  as  to  break  the  normal  identity  of  the  formalist  object 
as  cool,  impassive,  and  self-contained.  Their  works,  with 
increasing  aggression,  acknowledged  their  environment 
as  an  operative  part  of  the  artwork. 

Only  in  the  line  paintings  was  Irwin  composing  his 
pictures  in  a  deductivist  mode  in  order  to  eliminate  the 
Abstract  Expressionist  baggage  acquired  in  the  late 
1950s  Ferus  milieu.  Thereafter,  his  was  an  additive  proc- 
ess, an  intuitive  progression  toward  a  felt  goal.  In  the 
earliest  line  paintings,  dating  from  1961-62,  a  web  of 
lines  congregate  at  the  center  of  the  canvas.  In  the  later 
line  paintings  of  1962-65  (cat.  nos.  62-65),  Irwin  care- 
fully adjusted  the  placement  of  several  straight  horizon- 
tal lines  within  and  in  relation  to  the  confining  limits  of  a 
single-colored  canvas.  The  lines  were  placed  in  such  a 
way,  however,  that  the  eye  could  not  read  them  simulta- 
neously, nor  could  it  pursue  the  movement  of  a  relational 
composition.  The  lines  were  no  longer  the  point  of  focus. 
Irwin  recognizes  these  works  as  his  first  attempt  "not  to 
paint  a  painting."'"  It  is  interesting  to  note  that,  despite 
the  pared-down  look  of  these  paintings,  Irwin  felt  it 
critical  to  lay  in  each  line  "not  crudely,  but  by  hand,"" 
rather  than  with  a  rule,  as  though  already  conscious  that 
his  direction  was  toward  an  art  of  such  refinement  that 
small  distinctions  could  effect  enormous  visual  resonance. 
Larry  Bell's  work  of  1961-62  was  also  moving  toward 
an  emphasis  on  the  extra-formal,  straining  at  the  con- 
fining perimeters  of  the  concrete  object.  In  his  first  one- 
man  show  at  the  Ferus  Gallery  in  March- April  1962, 
Bell  showed  shaped  canvases  of  a  lozenge  configuration 
achieved  by  truncating  two  of  the  opposing  corners  of 

"Ibid,  p.  117      "Irwin  interview,  p.  12.      '"Ibid.,  p.  26.      "Ibid,  p.  21. 


Fig.  2 

Larry  Bell 

Untitled,  c.  1964 

Mixed  media  painting 

m%  X  36'.^  X  3  in.  (92.7  x  92.7 

X  7.6  cm.) 

Los  Angeles  County  Museum 

of  Art 

Gifl  of  Dr.  and  Mrs.  Sanders 

Croodman 

M. 67.24 


a  rectangle.  Each  was  painted  in  a  single  warm  hue,  leav- 
ing areas  of  blond  raw  canvas.  Exercises  in  a  kind  of 
geometric  shadow  play,  such  as  Little  Blank  Riding  Hood 
of  1962  (fig.  11,  are  rife  with  the  tension  of  their  spatial 
ambiguities.  The  exterior  shape  of  such  canvases  is  at 
first  glance  echoed  and  compounded  by  the  noncommittal 
geometry  of  its  interior  figure.  Almost  immediately, 
however,  the  internal  configuration  torques  into  depth, 
twisting  the  forms  into  a  three-dimensional  illusion 
and  complicating  the  paintings'  apparently  simplistic 
composition. 

Critically,  the  flatness  and  deadpan  geometry  of 
these  pictures  admitted  them  to  the  then-august  company 
of  hard-edged,  "post-painterly"  abstraction.  Vasarely 
was  invoked  to  explain  their  disloyal  flirtation  with  an 
illusion  of  optically  forged  depth.  The  paintings  them- 
selves, however,  subtly  denied  these  allegiances. 

In  the  works  that  followed  in  1962-64,  Bell  expanded 
the  two-dimensional  illusion  of  a  geometric  form  into 
actual  space:  his  canvases  became  thick  panels  with  the 
addition  of  clear  and  opaque,  black  and  white  glass  and 
mirrors;  his  axonometrically  projected  solids  now  pre- 
sented in  relief  grew  into  shallow  boxes  and  then  cubes 
(cat.  nos.  2  and  3).  Ellipses,  squares,  or  projected  solids  of 
clear  or  mirrored  glass  broke  open  the  centers  of  a  cube's 
six  sides  or  the  mid-parts  of  such  panels  as  Conrad  Hawk. 
1962,  Ghost  Box,  1964  or  Untitled,  c.  1964  (fig.  2),  to 
expose  an  infinitely  shifting  and  recessive  space.  Such 
works  are  but  distant  kin  to  Minimalist  abstraction  and 
its  "all-over"  compositional  directives.  Breaking  the  grip 
of  formalism  with  a  magician's  sleight-of-hand  (its  power 
only  hinted  at  in  the  earlier  pieces),  these  works  conjure 
fantastical  worlds;  their  space,  existing  only  in  the  vision 
of  the  viewer,  is  a  melange  of  the  real  and  the  illusory.'^ 
Their  mirrored  checkerboard  patterns  or  diagonally  twist- 
ing ellipses  confound  and  undermine  the  space  perceived 
as  does  a  circus  hall  of  mirrors. 

With  a  perceptible  quieting,  the  cubes  of  1966-69  be- 
came simultaneously  larger  and  more  evanescent  (cat. 
nos.  7-8).  Up  to  two  feet  square  on  a  side,  the  glass  panels 
were  held  in  place  by  a  colored  metal  framework  which, 
being  narrower,  was  less  obstrusive  than  the  shiny  struc- 
tural elements  of  the  earlier  cubes.  Like  planar  soap 
bubbles,  the  glass  sheets  were  of  unnameable,  iridescent 
hues,  modulating  imperceptibly  in  color,  tone,  and  density 
as  the  viewer  navigated  around  them.  In  their  incessant 
and  diffuse  transitions,  these  more  closely  resemble  hala- 
tions of  the  breath  than  still  and  solid  objects.  The  viewer 
extrapolates,  from  their  atmospheric  clouds  and  shifting, 
breathy  color,  a  whole  world  of  spatial  relationships.  The 
qualities  of  the  space  in  Bell's  cubes,  though  visually 

'^Curiously  similar  in  their  intent  to  create  self-defined  worlds 
within  intimate,  box-like  objects  were  a  series  of  rarely  .seen  small 
paintings  done  by  Robert  Irwin  much  earlier,  about  1959.  Thickly 
encrusted  tactile  works,  perhaps  no  more  than  a  foot  square,  these 
paintings  were  framed,  at  Irwin's  instructions,  in  handsome,  deep, 
walnut  boxes.  They  were  intended  to  be  held  and  .scrutinized  clo.se 
up,  or  to  be  set  on  a  table,  or  to  be  hung  Each  constitutes  a  dark, 
roily  world  of  paint. 


perceived,  are  kinesthetically  sensed.  They  are  significant 
not  only  in  their  transposition  of  the  realm  of  painterly 
concerns  to  three  dimensions,  but  in  their  impulse  toward 
a  new  sculptural  arena,  that  of  visually  haptic  space,  in 
which  the  artwork  is  the  phenomenological  event. 

Perhaps  more  conscious  of  and  verbally  better  able  to 
formulate  this  as  his  direction  than  could  Bell,  Robert 
Irwin  arrived  at  a  similarly  inclusive  stance  toward 
artmaking  in  his  dot  paintings  of  1964-66.'''  The.se  works 
firmly  establish  Irwin's  direction  toward  an  art  that  was 
without  mark,  image,  or  boundary.  The  dot  paintings, 
consisting  of  large,  square  canvases  stretched  over 
slightly  bowed,  hardwood  frames,  were  carefully  painted 
with  spaced  red  and  green  dots.  The  interaction  of  color 
and  the  convex  curve  of  each  painting  effects  the  illusion 
of  a  centered  cloud  of  colorless  energy  which  hangs,  danc- 
ing formlessly,  in  front  of  the  painting's  surface.  Para- 
doxical objects,  these  are  works  whose  total  effect  is  more 
than  the  sum  of  their  material  parts. 

In  his  disc  paintings  of  1966-69,  Irwin  further  erased 
the  distinction  between  optic  and  haptic  that  had  tra- 
ditionally segregated  painting  and  sculpture.'''  These 
works  embody  an  effort  to  abolish  a  way  of  perceiving  art 
that  had  to  do  with  hierarchies  of  vision  and  experience. 
To  do  this,  Irwin  did  away  with  the  delimiting  rectan- 
gular edge,  tacit  signifier  of  the  exclusive  aesthetic 
terrain.  In  these  aluminum  and  acrylic  "paintings,"  sub- 
tly sprayed  convex  discs  were  lit  with  low-intensity  spots 
to  dematerialize  their  edges.  Free-floating  apparitions 
without  visible  support,  the  discs  fuse  with  their  back- 
ground and  the  surrounding  ambience.  The  viewer  con- 
templates an  indefinite,  misty,  glowing  composite  of  light 
and  shadow  and  abstract  presence,  more  appropriately 
called  a  concentration  or  coalescence  of  pure  energy  than 
a  form  or  an  image. 

Much  was  made  in  the  art  journals  at  this  time  of  a 
California  obsession  with  materials  and  techniques.  The 
meticulous  craftsmanship  and  concentrated  attention 

'■''Though  both  artists  came  to  this  position  in  their  re.spective 
oeuvres  about  mid-decade,  Irwin's  ideas  have  been  the  more 
widely  known  and  discussed  due  to  his  enormous  verbal  abilities 
to  formulate  and  disseminate  them  through  teaching  and  exten- 
sive travel  and  lecturing.  Bell,  however,  though  less  overtly  verbal 
and  intellectualizing,  has  acknowledged  the  applicability  of  many 
of  Irwin's  dicta  in  regard  to  his  own  work:  "I  was  so  in  awe  of 
his  ability  to  talk,  when  1  just  found  myself  not  able  to  talk  at  all, 
about  things  in  my  mind.  I  didn't  have  to,  if  he  was  talking.  He 
said  all  kinds  of  stuff  1  felt  so  I  didn't  have  to  say  it;  I  could  repeat 
what  he  said,  if  I  could  remember  it."  (Interview  with  Larry  Bell 
by  the  author,  conducted  under  the  auspices  of  the  California  Oral 
History  Project  of  the  Archives  of  .American  Art,  .Smithsonian 
Institution,  between  May  25  and  June  2, 1980,  p.  78. 

Irwin,  Bell's  senior  and  former  teacher,  has  been  enormously 
influential  on  the  younger  man.  Never  mentioned  and  yet  to  be 
explored  is  the  possibility  that  the  influence  may  al.so  have  flowed 
in  the  other  direction,  with  an  ob.servant  teacher  learning  from  a 
gifted  and  innovative  student. 

'■•John  Coplans,  "The  New  Sculpture  and  Technology,"  American 
Sculpture  of  the  Sixties,  p.  23. 


Fig.  3 
Larry  Bell 

The  Iceberg  and  Its  Shadow, 
1975 

Iconel  and  silicon  dioxide  on 
plate  glass 

Varying  heights  x  60  x  %  in. 
(152.4x10  cm.) 
Permanent  Collection,  Mas- 
sachusetts Institute  of 
Technology.  Gift  of  Albert  and 
Vera  List  Family  Collection 


to  detail  of  Irwin  and  Bell  earmarked  their  work  as  part 
of  this  allegedly  localized  preoccupation  called  "finish 
fetish."  Irwin,  for  example,  was  known  to  have  spent  a 
year  fabricating  the  hardwood  stretchers  for  his  dot  paint- 
ings, strutting  the  curve  like  an  airplane  wing  and  then 
laying  on  a  thin  veneer  of  wood.  Bell's  working  process, 
after  he  acquired  his  own  vacuum-coating  equipment 
in  1966,  was  an  expensive  and  painstaking  procedure, 
demanding  rigorous  attention  to  detail."*  The  glass  sheets 
as  well  as  the  machine  had  to  be  meticulously  cleaned 
and  maintained  to  achieve  the  remarkable  consistency 
of  his  immaculate  surfaces.  The  onanistic  taint  of  the 
finely  wrought  consumer  object,  intuited  from  West  Coast 
car  culture  and  Beverly  Hills  values,  was  adhered  like 
a  decal  to  their  artworks. 

The  severe  insistence  by  these  artists  on  artistic  in- 
tegrity was  mistaken  for  an  obsessive  involvement  with 
surfaces  and  perfection.  They  believed  that  uncompromis- 
ing attention  to  detail  would  result  in  an  indescribable 
but  perceptible  wholeness  unattainable  otherwise.  "Any 
gesture  or  any  act  that  you're  involved  in  should  read 
all  the  way,"'*'  counseled  Irwin;  he  explained  his  impetus 
in  the  dot  paintings  as  proceeding  from  "the  feeling 
that  somehow  if  all  those  things  were  consistent. .  .every- 
thing was  consistent . . .  that  the  sum  total  would  be 
greater,  even  though  it  would  not  be  definable  in  some 
causal,  connected  way."  In  an  art  involving  slight  dis- 
tinctions and  close  viewer  scrutiny,  "Being  a  craftsman  is 
directly  in  relation  to  what  you  want  to  accomplish."'* 

The  attention  to  presentation  that  characterizes  the 
work  of  Bell,  Irwin,  and  others  such  as  Price  and 
Bengston,  who  came  to  maturity  in  L.A.  in  the  sixties, 
arises  out  of  similar  concerns.  Ken  Price's  explanation 
could  apply  equally  to  all  their  work: 

People  call  it  perfectionism,  but  it's  not  really,  it's 
kind  of. . .  you  want  to  have  the  thing  resolved  to  a 
level  where  it  actually  really  functions  like  it's  sup- 
posed to.  You  can't  tell  me  an  Albers  is  still  okay 

with  a  great  big  Crayola  mark  over  on  the  side 

But  people  think  of  things  that  way.  You  know, 
it's  like,  "let's  pretend  we  don't  see  this  over  here," 
when  in  fact,  there  it  is.  You  know  what  I  mean?''' 
By  the  early  1970s,  both  Irwin  and  Bell  were  working 
on  a  much-expanded  scale  on  works  that  melded  the  tra- 
ditionally distinct  optic  and  haptic  modes.  To  encompass 
and  more  totally  affect  the  viewer,  room-sized  pieces  were 
designed  and  installed  to  relate  specifically  to  a  particu- 

"•For  a  detailed  description  of  Bell's  technique,  see  Fidel  A 
Danieli,  "Bell's  Progress,"  Artforum.  vol.  5,  no.  10,  June  1967, 
pp.  68-71. 

"'Irwin  interview,  p.  46. 

■'Ibid ,  p.  47. 

^^Transparency,  Reflection.  Light,  Space,  p.  69. 

''Interview  with  Kenneth  Price  by  the  author,  conducted  under 
the  auspices  of  the  California  Oral  History  Project  of  the  Archives 
of  American  Art,  Smithsonian  Institution  between  May  30  and 
June  2, 1980,  p.  18. 


lar  space.  These  works  incorporated  into  their  appearance 
and  their  subject  much  that  the  viewer  had  formerly  been 
conditioned  to  consider  as  extraneous:  the  action  of  light 
on  an  object,  the  effect  of  viewer  movement  in  relation  to 
a  space  or  objects,  the  space  around  objects,  and  the  tran- 
sitions between  them.  These  artists  were  making  works 
whose  physical  materials  were  catalysts  for  a  dialectical, 
perceptual  process.  Their  sculptures  functioned  as  stimuli 
to  perception,  as  "instruments  for  seeing."^" 

Acquiring  a  much  larger,  expensive  vacuum-coating 
machine  in  1969,  Bell  was  able  to  apply  thin  quartz  and 
metallic  film  to  glass  sheets  of  unprecedented  dimensions, 
a  possibility  he  had  first  considered  one  year  earlier: 
I  had  this  feeling  always  that . . .  the  answer  to  what 
to  do  next  was  always  in  the  last  work  you  did,  but 
you  had  to  look  at  it  very  carefully  to  find  it.  And 
then  I  realized  that  in  the  last  cubes  that  I  was  doing 
I  was  making  the  coatings  fade  off  at  the  corners.  So 
what  I  decided  was  to  get  rid  of  the  cube  format  and 
just  work  with  the  corners,  just  right-angle  relation- 
ships. Basically  it  was  just  a  series  of  right  angles. 
And  so  then  I  decided  if  I  did  that,  then  I  could  make 
them  bigger.  Because  if  I  just  used  the  corner,  I  could 
stand  it  on  the  floor,  and  it  could  be  big  and  encom- 
pass your  peripheral  vision.^' 
Noticing  that  the  junctures  of  the  cube's  glass  sheets 
tended  to  collect  the  cloudy  coalescense  of  tone.  Bell  en- 
larged the  sheets  so  that  they  became  room-sized  pieces 
which  actually  enclose  the  viewer  However  massive  or 
numerous,  the  rectangular  or  triangular  glass  plates 
stand  effortlessly  in  angled  configurations,  belying  both 
their  weight  and  fragility.  Designed  for  close  viewer 
scrutiny  and  interaction,  they  are  scaled  to  human  height 
and  arm's  breadth.  They  therefore  maintain  a  kind 
of  intimacy  and  conversational  relationship,  however 
extensively  they  proliferate,  as  in  The  Iceberg  and  Its 
Shadow  of  1975  (fig.  3),  which  is  made  up  of  fifty-six 
%-inch-thick  plates. 

Constantly  renewed  by  light  changes  and  different 
angles  of  vision,  their  transitory  hues  and  illusive  sur- 
faces undermine  a  sense  of  objectness.  The  surfaces,  made 
mysterious  by  their  thin,  vacuum-applied  coatings,  sub- 
sume the  viewer  and  his  surroundings  in  spaces  of  in- 
determinate depth  and  kaleidoscopic  color  Forms  surface 
from  these  depths  unexpectedly,  and  their  reflection  and 
refraction  play  on  and  subvert  our  spatial  expectations 
learned  from  mirrors  and  store  windows.  Disorienting 
and  surprising  the  viewer,  these  works  initiate  a  percep- 
tual and  kinesthetic  dialogue. 

Here,  Bell  is  sculpting  translucency,  shadow,  reflec- 
tion, and  refraction.  Glass  and  the  metallic  inconeF^  and 
quartz  that  coat  it  in  these  works  are  but  the  sculptor's 
tools,  not  medium  or  subject.  His  true  medium  is  light; 

^"Michael  Kirby,  The  Art  of  Time:  Essays  on  the  Avant  Garde, 
New  York,  1969,  p.  20. 

^'Bell  interview,  p.  36. 

-^An  alloy  consisting  of  a  specific  combination  of  nickel,  chrome, 
manganese,  cobalt,  and  iron. 


FiK  4 

Robert  Irwin 

Untitled,  1971 

Fluorescent  light  and  scrim 

Size  variable 

Walker  Art  Center,  Minneapolis, 

Minnesota 

Gift  of  the  artist 


the  sculptures  give  it  shape  and  substance.  The  thin 
films,  unlike  pigment,  are  without  inherent  color  They 
are  in  themselves,  structures  that  shape  and  fracture 
light  and  form,  as  do  the  configurations  of  the  glass  sheets. 
What  appears  as  mutable  color  is  in  fact  an  "interference 
layer."  As  Bell  has  explained,  "the  coatings  interfere 
with  the  light,  with  the  wave  length  of  light  that  is 
equivalent  to  the  thickness  of  the  coating."^^  Essentially 
clear,  like  quartz,  they  function  as  does  a  prism  to  bend 
and  refract  the  light  as  one  moves  about  them,  causing 
light  in  its  different  wave  lengths  to  create  changing 
colors.  They  are  like  gasoline  on  water,  an  analogy 
frequently  invoked  by  Bell  to  explain  these  mysterious 
colorations:  "The  phenomena  [sic]  is  the  same.  The 
different  thicknesses  of  gasoline  determine  the  colors 
that  you  see."-'' 

Robert  Irwin,  prior  to  the  execution  of  the  disc  paint- 
ings, also  realized  that  his  medium  was  indeed  light,  not 
aluminum  or  acrylic:  "I  had  been  working  with  a  lot  of 
light  systems  prior  to  doing  these  paintings,  using  every 
kind  of  rented  light  I  could  get  my  hands  on,  laser  beams, 
collimated  light  systems,  and  everything  else.  I'd  never 
exhibited  any  of  those  things.  But  I  did  a  lot  of  things 
with  just  pure  light."^^ 

Like  an  apprentice  learning  the  tools  of  a  trade,  Irwin 
experimented  with  various  lighting  situations  trying  to 
discern  the  language  and  vocabulary  of  his  medium. 
The  goal  that  emerged  was  to  separate  the  "light  from 
its  source . . .  the  phenomena  of  light  from  the  light 
bulb,"  to  achieve  a  situation  that  was  "rich  in  terms  of 
the  phenomena,  the  energy . . .  the  light  itself,  the  colors 
and  the  ambience  without  definable  source."'^*' 

Even  less  materially  substantial  than  the  discs  were 
Irwin's  acrylic  colunms  of  1969-70.  Immaculately  ma- 
chined, with  a  clarity  .06  percent  better  than  that  of 
glass,^'  the  columns  were  situated  vertically  below  a  sky- 
light or  in  relation  to  a  natural  light  source.  There  they 
would  dematerialize  as  concrete  object,  acting  instead  like 
an  invisible  optical  instrument  to  transmit  and  focus 
light  and  color  Transient  volumes,  they  appeared  as  light 
flashes  or  as  briefly  glimpsed  black  or  white  edges  of  light. 

In  striving  toward  an  unfettered  artmaking  process, 
Irwin  arrived  at  the  position  that  working  regularly  in  a 
studio — the  same  studio,  of  a  given  size  and  shape  and 
in  the  same  place — could  only  serve  to  circumscribe  his 
choices.  It  would,  of  necessity,  elicit  and  reinforce  certain 
limited  and  similar  solutions.  Giving  up  his  studio  left 
Irwin,  an  eminently  tactile  person  who  has  avowed  his 
pleasure  in  the  perceptual  manipulation  of  material,  be- 
reft of  a  tactile,  and  with  only  a  mental  way  of  thinking.'-" 

An  answer  to  this  dilemma  was  presented  in  the  per- 
son of  Dr  Ed  Wortz,  whom  Irwin  met  through  the  auspices 
of  the  Art  and  Technology  program  of  the  Los  Angeles 
County  Museum  of  Art.  Wortz,  a  perceptual  psychologist 
of  wide-ranging  intellect,  headed  an  open  research 

23Bell  interview,  p.  104.      -"Ibid.,  p.  108. 

"Irwin  interview,  pp.  70-71. 

2'^Ibid.,  p.  71.      "Ibid,  109       ^»Ibid.,  pp.  117-18. 


facility  at  the  Garrett  aerospace  corporation.  In  Wortz 
Irwin  found  a  companion  and  mentor  for  his  researches 
into  philosophic  and  artistic  attitudes  and  questions 
of  perception.  Together,  as  similarly  perceiving,  sensate 
beings,  they  set  up  and  explored  a  series  of  perceptual 
situations,  sharing  their  ideas  and  impressions. 

By  1970  Irwin  was  using  the  information  and  proc- 
esses garnered  through  this  collaboration  in  creating 
"situations"  or  "installations,"  "responses"  to  specific 
places  such  as  a  service  stairwell  at  UCLA  in  1971  or  to  a 
room  in  The  Museum  of  Modern  Art  in  New  York,  his  first 
scrim  installation  done  one  year  earlier  Subtly,  often 
imperceptibly,  Irwin  doctored  each  space  to  heighten  the 
viewer's  perception  of  the  nature  of  that  space,  calling  at- 
tention to  some  integral  but  formerly  unnoticed  character 
or  aspect.  Evocative  volumetric  spaces,  as  perceptibly  real 
as  they  were  physically  intangible,  were  called  into  be- 
ing and  defined  by  nylon  scrim  at  the  Walker  Art  Center 
in  Minneapolis  in  1971  (fig.  4),  or  by  a  few  yards  of  dark 
string  at  the  Fort  Worth  Art  Museum  in  1975-76,  or  by  a 
roll  of  black  tape  at  the  Museum  of  Contemporary  Art  in 
Chicago  in  1975. 

As  vehicles  for  perceptual  experience,  these  works, 
like  those  by  Larry  Bell,  have  three  aspects:  (a)  the  tan- 
gible identity  of  the  physical  materials  constituting  the 
piece.  Whether  string  or  scrim,  light  or  glass  sheets,  these 
are  the  physical  triggering  devices  for  (b)  the  intangible 
product — the  perceptible  illusion,  which  is  this  art's  sub- 
ject. Constituted  of  illusory  visual  or  haptic  phenomena, 
these  perceptible  illusions  are  often  qualifiable,  for  exam- 
ple, in  Bell's  work  as  reflections  or  refracted  images, 
or  in  Irwin's  installations  as  "halations,"  "imageless  pres- 
ence," "volumetric  moistness."  The  point  of  this  work,  its 
goal  and  content,  is  (c)  the  psychological,  perceptual 
experience  that  is  initiated  in  the  viewer  This  temporal 
synesthetic  complex  is  constituted  of  states  of  being  or 
modes  of  consciousness,  variously  experienced  and 
described  by  viewer/participants  as  "displacement,"  "dis- 
orientation," meditative  or  alpha  states,  and  other  terms. 

The  preponderance  of  critical  writing  about  works 
such  as  these  has  relied  heavily  on  descriptions  of  their 
first  two  aspects.  It  is  no  doubt  irksome  to  deal  collec- 
tively and  verbally  with  what  is  so  clearly  individual  and 
experiential.  In  an  age  in  which  the  art  world  still  relies 
heavily  on  the  imprimatur  of  art  publications,  an  art 
that  eludes  literal  description  and  defies  photographic 
isolation  is  given  limited  currency.^* 

Impressionism  has  been  the  historical  antecedent 
most  usually  cited  for  a  Southern  California  art  of  light 
and  space.^"  Rather  more  analogous  to  this  work  in  both 

^"For  a  discussion  of  the  ideology  that  effects  this  rejection,  see 
Germane  Celant,  "Bonds  between  Art  and  Architecture,"  Andre 
Buren  Irwin  Nordman:  Space  as  Support,  trans.  Camilla  Sbrissa, 
ed  Mark  Rosenthal,  University  Art  Museum,  University  of 
California,  Berkeley,  1979,  p.  12. 

■"'For  one  such  comparison,  see  Melinda  Wortz's  essay  in  Califor- 
nia Perceptions:  Light  and  Space,  Selections  from  the  Woriz  Col- 
lection, The  Art  Gallery,  California  State  University,  Fullerton, 
1979,  p.  10. 


subject  and  content  is  an  American  nineteenth-century 
manifestation  called  Luminism.  With  Impressionism,  the 
immediacy  of  perception  offered  a  pseudoscientific  way  of 
seeing,  an  analytic  technique  by  which  objects  and  vistas 
could  be  translated  into  a  shimmering,  atmospheric 
dissolve  of  light  cum  paint.  Luminism  was  a  lyric  rather 
than  an  analytic  approach  to  painting:'"  "If  we  can  say 
that  Impressionism  is  the  objective  response  to  the 
visual  sensation  of  light,  then  perhaps  we  can  say  that 
luminism  is  the  poetic  response  to  the  felt  sensation."^^  In 
Luminist  painting,  as  with  this  contemporary  work,  the 
art  object  is  an  instrument  or  catalyst  that  initiates  a 
transcendent  experience  in  the  viewer  The  works  them- 
selves are  but  points  of  entry  for  the  viewer,  channels 
of  access  to  the  perceptual  and  spiritual  engagement 
that  is  the  work's  content.  For  the  Luminists,  as  with 
Irwin  and  Bell,  light  was  the  vehicle  chosen  to  effect  this 
transubstantiation . 

Not  only  an  attitude  toward  light,  Luminism  was  a 
way  of  seeing  that  proceeded  from  the  artists'  ideas  of  the 
world  and  their  relation  to  it,^^  ideas  surprisingly  like 
those  of  many  current  artists:  "The  American  nineteenth 
century  in  particular. .  tended  to  define  in  terms  of 
process  rather  than  product,  to  emphasize  the  view  and 
the  vision,  a  way  of  seeing,  rather  than  to  judge  the 
thing  seen  as  a  work  independent ...  of  the  perception  of 
the  viewer."^'' 

The  role  of  these  nineteenth-century  American  art- 
ists was  that  of  an  anonymous  "clarifying  lens"^  which 
unobtrusively  facilitated  a  {jerceptual  communion.  As 
tenets  of  a  secular  priesthood  of  sorts,  their  aesthetic 
philosophies  were  thick  with  didactic  moral  overtones 
regarding  the  culturally  renovating  role  of  art.  These  are 
remarkably  close  in  tenor  to  Robert  Irwin's  philosoph- 
ical conversations.  Irwin's  realization  that  "if  light  is  a 
medium,  then  in  a  sense  the  universe  is  a  medium"'*  is 
also  strikingly  consonant  with  the  Emersonian  ideas 
of  the  Luminists. 

In  both  nineteenth-century  Luminist  paintings  and 
works  by  Irwin  and  Bell,  light,  the  most  impalpable  of 
substances,  is  medium  and  subject.  Luminist  paintings 
paradoxically  combine  idealized,  illusionistic  compo- 
sitions depicting  landscape  vistas  with  meticulously  ren- 
dered details  of  flora  and  fauna.  Their  linear  clarity  of 
form  is  nevertheless  combined  with  a  tonal  handling  that 
impregnates  the  whole  with  a  charged  and  radiant  light. 
This  emanant  light,  though  all-pervasive,  is  without 
visible  source.  The  immaculate,  vitrescent  surfaces  of 

^'Barbara  Novak,  American  Painting  of  the  Nineteenth  Century, 
New  York,  1969,  p.  85. 

^^Ibid.,  p.  91. 

'''Ibid.,  p.  95. 

"■•Roger  B.  Stein,  The  View  and  the  Vision:  Landscape  Pjinting  in 
Nineteenth-Century  America,  The  Henry  Gallery,  University  of 
Washington,  Seattle,  1968,  p.  5. 

^^tiovak,  American  Painting,  p.  97. 

^Transparency,  Reflection,  Light,  Space,  p.  98. 


these  pictures  reveal  no  trace  of  the  artist's  hand  through 
brush  stroke,  allowing  the  viewer's  direct  engagement 
with  the  work. 

Equally  light-filled  and  illusionistic,  the  work  of  Bell 
and  Irwin  is  formally  similar  in  their  effect.  Pristine  sur- 
faces are  meticulously  crafted  and  highly  finished.  In  the 
viewer's  {perception  these  works  evoke  formless  ambient 
light  and  atmosphere,  and  become  the  agents  of  a  per- 
ceptual (some  would  say  spiritual)  drama.  Whether  one 
comes  nose  up  against  the  nylon  scrim  of  an  Irwin  in- 
stallation or  the  sleek  trompe  I'oeil  surfaces  of  a  Luminist 
work,  the  revelation  of  means  in  no  way  diminishes  the 
intimacy  and  mystery  of  their  effect. 

Integral  to  nineteenth-century  Luminist  art  was  the 
assumption  that  spiritual  awareness  could  be  initiated 
and  heightened  by  the  contemplation  of  the  American 
landscape,  and  of  natural  light  as  an  attribute  of  divinity. 
In  the  nineteenth  century  there  was  an  "American  faith 
that  the  land  itself  was  a  sufficient  source  to  nourish  both 
American  forms  and  American  feelings,  whether  in- 
tellectual, sensuous,  spiritual  or  aesthetic  in  character."'" 
Underlying  the  Luminist  work  was  a  cultural  myth  that 
identified  the  American  land  as  the  New  Eden.  Without 
the  ruins  of  decayed  and  corrupt  civilizations,  it  was  a 
tabula  rasa,  mankind's  second  chance. 

The  work  of  Irwin  and  others,  such  as  James  Turrell 
or  Maria  Nordman,  has  also  been  enriched  by  the  artists' 
immersion  in  the  landscape  experience  of  the  American 
West.  Their  works  evoke  an  energy  through  the  manip- 
ulation of  impalpable  light  which,  though  experientially 
real,  is  without  concrete  identity.  Such  works  recreate 
a  charged  "presence"  that  Irwin,  for  one,  has  observed  in 
particular  locations  of  the  Southwestern  desert: 

It's  a  place  where  you  go  along  for  a  while,  and  there 
seems  to  be  nothing  happening . . .  it's  all  just  flat 
desert,  you  know,  no  particular  events,  no  mountains 
or  trees  or  what  have  you.  And  then  all  of  a  sudden 
it  just  takes  on  this  sort  of — I  mean  it's  hard  to  ex- 
plain, but  it  takes  on  almost  a  magical  quality.  It  just 
suddenly  stands  up  and  almost  hums,  it  becomes  so 
beautiful . . .  incredibly,  the  presence  is  so  strong. 
Then  in  twenty  minutes  it  will  simply  stop.  And  I 
began  to  try  and  wonder  why — what  those  events 
were  really  about — because  they  were  so  close  to  my 
interest,  the  quality  of  the  phenomena."^ 
This  formally  intangible  art,  concerned  with  the  tran- 
scendent perceptual  event,  has  been  portrayed  as  arising 
from  the  specifics  of  California  light  and  landscapes. 
However  much  it  may  be  a  distillation  of  "cross-sections 
of  sky,  chunks  of  smog,  panes  of  atmosphere,  and  radiant 
space,""^  it  is  as  much  a  product  of  the  idea  of  the  place 
as  of  its  reality. 

If  California  does  appeal  to  the  popular  imagination 

'"Stein,  The  View  and  the  Vision,  p.  8. 

"'Irwin  interview,  pp.  139-40. 

"^Kim  Levin,  "Narrative  Landscape  on  the  Continental  Shelf: 
Notes  on  Southern  California,"  A  r/s  Magazine,  vol.  51,  no.  2, 
October  1976,  p.  94. 


as  the  playground  of  material  spiritualism  described  at  the 
beginning  of  this  essay,  one  must  recognize  that  it  has  also 
represented  to  the  American  mind  the  New  Eden,  em- 
bodied in  an  urbanized  frontier  To  the  thousands  of  people 
who  journeyed  from  the  East,  the  South,  or  the  Midwest, 
California  was  the  land  of  orange  groves  and  opportunity, 
swathed  in  a  continuously  temperate  environment.  A  fan- 
tastic albeit  man-made  paradise,  California  embodied  a 
new  spiritual  and  economic  beginning  where  everyone  had 
an  equal  chance  to  strike  oil  or  be  discovered  at  Schwabs. 
Here,  everyone  is  without  a  past;  there  is  only  the  ever- 
present  golden  now  and  the  hoped-for  tomorrow. 

This  future-oriented  optimism  permeates  the  writings 
and  expressions  of  many  of  these  artists.  The  underlying 
hope  implicit  in  these  works  is  that  they  will  purify  and 
renew  human  perception,  resensitizing  the  viewer  to  the 
aesthetic  experiences  that  lie,  not  only  within  the  confines 
of  the  museum  or  gallery,  but  in  the  world  beyond.  The 
perfectibility  of  man  through  aesthetic  experience  and 
fresh  perception  has  been  one  of  Robert  Irwin's  messages 
in  his  peripatetic  lecturing.  Perhaps  the  most  articulate 
artist  in  phrasing  this  ambition,  Irwin  claims  a  culturally 
transforming  role  for  his  art:  if  perception  is  a  paradigm 
of  culture,  then  the  art  experience  is  a  tool  for  cultural 
change.  If  art,  he  reasons,  can  modify  attitudes  of  conscious- 
ness, then  the  configuration  of  our  culture's  boundaries 
will  change  as  do  the  limits  of  perception.*'  Perhaps, 
then,  this  work  is  most  significant  in  its  attempts  not 
merely  at  a  transformation  of  the  object,  but  in  its  con- 
version of  art's  content."" 

Despite  such  hopeful  ambitions,  however,  the  "situa- 
tions" of  Irwin,  Nordman,TUrrell,  and  Asher  and  the 
polished  sculptures  of  Bell,  Valentine,  Kauffman,  and 
Alexander  are  isolated  in  their  impact  on  contemporary 
life  and  culture.  These  streamlined  environments  and 
artworks  of  nylon,  plastic,  and  glass,  pristine  and  mys- 
teriously light-transfused,  exist  like  period  room  settings, 
although  of  limited  tenure,  within  the  museum  context; 
they  stand  as  testaments  to  a  1930s  vision  of  the  twen- 
tieth century.  The  "space-age"  technology  used  in  their 
fabrication  is  more  moderne  than  modern,  as  the  artists 
themselves  are  quick  to  acknowledge.  (Bell's  vacuum- 
coating  process,  Orr's  ionizers,  and  Irwin's  light  systems 
have  been  available  and  industrially  or  commercially 
used  for  the  last  forty  years.)  Their  materials — glass, 
chrome,  and  stainless  steel — are  no  more  modem  than 
the  Bakelite  plastic  or  Monel  metal  used  by  American 
industrial  designers  in  the  1930s  in  their  self-conscious 
effort  to  create  a  technological  Utopia.  Impelled  by  the 
bleak  economics  of  the  Depression  era,  those  designers 
envisioned  a  coherent,  machine-made  environment  in 
which  life  would  be  clean,  efficient,  and  harmonious.  Em- 
bodied in  interiors,  commercial  packaging,  automobiles, 
motion  pictures,  and  so  forth,  this  conception  fast  per- 
meated the  American  consciousness  at  a  time  when  the 

'"Transparency,  Reflection,  Light,  Space,  pp.  71-99. 
■"Celant,  "Bonds  between  Art  and  Architecture,"  p.  18. 


common  people  looked  to  the  future  for  the  solution  to 
their  problems."*^ 

The  streamlined,  expressionistic  style  of  that  time, 
its  technology  and  concomitant  vision  of  a  bright,  seam- 
less, sanitary,  better  world,  is  not  so  far  removed  from  the 
California  art  of  the  1960s  discussed  above.  Like  movie- 
made  images  of  futuristic  environments,  these  contempo- 
rary machined  forms  and  ambient  mists  remind  us  of  a 
1930s  belief  in  industrial  design  and  modern  technology, 
of  an  optimistic  futurism  that  has  gone  unrealized  with 
the  decay  and  pollution  of  a  petroleum-based  civilization. 

^^For  an  excellent  study  of  the  role  and  impact  of  industrial  design 
in  America,  on  which  these  remarks  were  based,  .see  Jeffrey  L. 
Meikie,  Tiventielh  Century  Limited:  Industrial  Design  in  America, 
1925-1939,  Philadelphia,  1979. 


Larry  Bell 


Coated  glass  (engraved) 

14  X  14  X  14  in.  (35.6  x  35.6  x  35.6  cm. ) 

Lent  bv  the  artist 


Untitled,  1964-65 


12       Billy  Al  Bengston 


Boris.  1963 


Polymer  and  lacquer  on  Masonite 

62'A  X  48"/i  in.  (158.8  x  123.2  cm.) 

Artist  Studio,  Venice,  California,  and  Mr.  and  Mrs.  Jack  Quinn 


Ronald  Davis 


Roto.  1968 


iyester  resin  and  fiberglass 
2X136  in.  (153.7x345.4  cm.) 

Angeles  County  Museum  of  Art 

seum  Purchase,  Contemporary  Art  Council  Funds 

9.8 


45       Richard  Diebenkorn 


Ocean  Park  #14, 1968 


Oil  on  canvas 

93  X  80  in.  (236.2  x  203.2  cm.) 

Mr.  and  Mrs.  Philip  Gersh 


^ 


■> 


^ 


\ 


X 


40 


52       Sam  Francis 


Berkeley.  1970 


Acrylic  on  canvas 

168  X  108  in.  (426.7  x  274.3  cm.) 

University  Art  Museum.  University  of  California,  Berkeley 

Purchased  with  the  aid  of  funds  from  the  Janss  Foundation 

and  the  National  Endowment  for  the  Arts 


55      Joe  Goode 


Un  made  Bed  Triptych ,  1 


Oil  on  canvas  with  Plexiglas 

3  panels,  each  60  x  60  in.  (152.4  x  152.4  cm.) 

Lent  anonymously 


42 


I       David  Hocknev 


Beverly  Hilh  Housewife.  1966 


.crylic  on  canvas  (diptych) 
2  X  144  in.  (182.9  X  365.8  cm.) 
rivate  collection,  Los  Angeles 


62       Robert  Irwin 


Untitled,  1962 


Oil  on  canvas 

82V2  X  84 '/2  in.  (209.5  x  214.6  cm.) 

Collection  of  the  La  JoUa  Museum  of  Contemporary  Art,  California 


44 


67       Craig  Kauffman 


Untitled  Watt  Relief,  1967 


Sprayed  acrylic  lacquer  on  vacuum-formed  Plexiglas 

50  X  72  X  15  in.  (127  x  182.9  x  38.1  cm.) 

Los  Angeles  County  Museum  of  Art 

Gift  of  the  Kleiner  Foundation 

M.73.38.10 


76       Edward  Kienholz 


The  Back  Seat  Dodge  '38,  II 


Materials  include  paints,  fiberglass,  and  flock,  1938  Dodge, 
chicken  wire,  beer  bottles,  artificial  grass,  cast  plaster  figure 
66  X  240  X  144  in.  (168  x  610  x  356  cm.) 
Lyn  Kienholz 


46 


80      John  McLaughlin 


#9, 1962 


Oil  on  canvas 

42  X  60  in.  (106.7  X  152.4  cm.  I 
Mr.  and  Mrs.  Morris  S.  Pynoos 


86      Edward  Moses 


Rose  #4.  1963 


Silver  paint  and  graphite  on  paper 
60  X  40  in.  (152.4  x  101.6  cm.  I 
Lent  by  the  artist 


48 


91       Bruce  Nauman 


My  Last  Name  Exaggerated  14  Times  Vertically,  1967 


Pale  purple  neon  tubing 

63  X  33  in.  (160  X  83.8  cm.) 

1981  reconstruction  by  Los  Angeles  County  Museum  of  Art 

Courtesy  Giuseppe  Panza  di  Biumo,  Milan,  Italy 

and  the  artist 


98       Kenneth  Price 


Pink  Egg,  1964 


Fired  and  painted  clay 

6  X  SM:  X  5V2  in.  (15.2  x  14  x  14  cm.) 

h.  with  stand:  70  in.  (177.8  cm.) 

Betty  and  Monte  Factor  Family  Collection 


100       Edward  Ruscha 


Actual  Size,  1962 


Oil  on  canvas 

72  X  67  in.  (182.9  x  170.2  cm.) 

Los  Angeles  County  Museum  of  Art 

Anonymous  gift  through  the  Contemporary  Art  Council 

M.63.14 


115       Peter  Voulkos 


Rondena,  1958 


Stoneware 

h:  64  in.  (162.5  cm.) 

Mr.  and  Mrs.  Stanley  K.  Sheinbaum 


Catalog 


54  Larry  Bell 

57  Billy  Al  Bengston 

60  Wallace  Berman 

63  Ronald  Davis 

66  Richard  Diebenkorn 

69  Sam  Francis 

71  Joe  Goode 

73  David  Hockney 

76  Robert  Irwin 

77  Craig  Kauffman 
80  Edward  Kienholz 
83  John  McLaughlin 
86  Edward  Moses 
89  Bruce  Nauman 
92  Kenneth  Price 
95  Edward  Ruscha 
98  Peter  Voulkos 


Larry  Bell 


1.  Untitled.  1958 

Oil  on  paper  mounted  on 

canvas 

43  X  43  in.  (109.2  X 

109.2  cm.) 

Hal  Glicksman 

2.  Larry  Bell's  House,  Part  II 
1962-63 

Glass  construction 

25  X  25  X  25  in.  (63.5  x  63.5 

X  63.5  cm.) 

Lent  by  the  artist 

3.  Bette  and  the  Giant 
Jewfish,  1963 
Glass  and  mirror 

16  X  16  X  16  m.  (40.6  x  40.6 
X  40.6  cm.) 
Betty  Asher 

4.  Untitled,  1964-65 
Coated  glass 

15  X  15  X  15  in.  (38.1  x  38.1 

X  38.1  cm.) 

Lent  by  the  artist 


5.  Untitled,  1964-65 
Coated  glass 

12  X  12x12  in.  (30.5x30.5 

X  30.5  cm.) 

Lent  by  the  artist 

6.  Untitled,  1964-65 
Coated  glass  (engraved) 

14  X  14x14  in.  (35.6x35.6 

X  35.6  cm.) 

Lent  by  the  artist 

7.  Untitled,  1966 
Coated  glass 

20  X  20x20  in.  (50.8x50.8 

X  50.8  cm.) 

Lent  by  the  artist 

8.  Untitled,  1968-69 
Coated  glass 

36x36x36  in.  (91.4x91.4 
X  91.4  cm.) 

Dr  and  Mrs.  Charles 
Hendrickson 


54 


1^ 

4 

1 

i 

1 

Billy  Al  Bengston 


9.  Grace.  1960 
Oil  on  canvas 
49%  X  42V4  in. 
(126.4  X  107.3  cm.) 
Betty  Asher 

10.  Red  Ryder,  1961 
Lacquer  and  polymer  on 
Masonite 

48  X  48  in. 
(121.9x121.9  cm.) 
Artist  Studio,  Venice, 
California 

11.  Blister.  1962 

Oil  and  sprayed  lacquer 
on  Masonite 
60  X  60  in. 
(152.4  X  152.4  cm.) 
Collection  of  the  La  Jolla 
Museum  of  Contemporary 
Art,  California 

12.  Borts.  1963 

Polymer  and  lacquer  on 

Masonite 

62'/i.  x48'/2  in.  (158.8  X 

123.2  cm.) 

Artist  Studio,  Venice, 

California,  and  Mr  and 

Mrs.  Jack  Quinn 

13.  Busby.  1963 

Oil,  polymer,  and  lacquer 
on  Masonite 
80  X  60  in. 
(203.2  x  152.4  cm.) 
Artist  Studio,  Venice, 
California 

14.  Untitled.  1961 
Lacquer  on  Masonite 
4  in.  diameter  octagon 
(10.2  cm.) 

Artist  Studio,  Venice, 
California 

15.  Untitled,  1961 

Oil  and  lacquer  on 

Masonite 

5x5  in.  (12.7  X  12.7  cm.) 

Artist  Studio,  Venice, 

California 


16.  Untitled.  1961 

Oil  and  lacquer  on 
Masonite 

5x5in.ll2.7x  12.7  cm.) 
Arti.st  Studio,  Venice, 
California 

17.  Untitled.  1961 
Acrylic  and  lacquer  on 
Masonite 

5  in.  diameter  octagon 

(12.7  cm.) 

Artist  Studio,  Venice, 

California 

18.  Untitled,  1962 
Acrylic  and  lacquer  on 
Masonite 

4x4  in.  (10.2  x  10.2  cm.) 
Artist  Studio,  Venice, 
California 

19.  Untitled.  1962 

Oil  and  lacquer  on 
Masonite 
4'/2  x  4M>  in. 
(11.4x11.4  cm.) 
Artist  Studio,  Venice, 
California 

20.  Untitled.  1962 
Lacquer  on  Ma.sonite 

5  x  5  in.  (12.7  x  12.7  cm.) 
Artist  Studio,  Venice, 
California 

21.  Untitled,  1963 
Acr>'lic  and  lacquer  on 
Masonite 

4x4in.(10.2x  10.2cm.) 
Artist  Studio,  Venice, 
California 

22.  Untitled,  1963 
Lacquer  on  Masonite 
5x5  in.  (12.7  X  12.7  cm.) 
Artist  Studio,  Venice, 
California 


11 


10 


58 


13 


^S^^^i^^^^ 


"^>^v^ 


Wallace  Berman 


\ 


23.  Semina  1.  1955 
Printed  papers  and 
photographs 

7%  X  4  in.  (19.7  X  10.2  cm.) 
Hal  Glicksman 

24.  Semina  2, 1957 
Printed  papers 
8y2x5'/2  3n.(21.6x  14  cm.) 
Hal  Glicksman 

25.  Semina  3.  1958 
Printed  papers 

11x9  in.  (27.9x22.9  cm.) 
Hal  Glicksman 

26.  Semina  4,  1959 
Printed  papers 

9'/4  x  7%  in.  (23.5  x 

19.7  cm.) 

Hal  Glicksman 

27.  Semina  5.  1959 
Printed  papers 
7%x4%  in.  (18.8  X 
12.4  cm.) 

Hal  Glicksman 

28.  Semina  6.  1960 
Printed  papers 

8'/2X  6  in.  (21.6x15.2  cm.) 
Hal  Glicksman 

29.  Semina  7, 1961 
Printed  papers 
7-'/4x5'/2  in.  (19.7  X  14  cm.) 
Hal  Glicksman 

30.  Semina  8,  1963 
Printed  papers  and 
photographs 
7x5'/4in.  (17.7xl4cm.) 
Hal  Glicksman 


31.  Semina  9,  1964 
Printed  papers  and 
photograph 

5V4x3'/8in.  (14x8cm.) 
Hal  Glicksman 

32.  Untitled,  1956-57 
Woodstain  and  ink  on 
parchment  on  canvas 
19'/4  x  19'/2  in.  (49.5  x 
49.5  cm.) 

Mrs.  Kathleen  Bleiweiss 

33.  Untitled,  1956-57 
Woodstain  and  ink  on 
parchment  on  canvas 
19V4  x  19'/2  in.  (49.5  x 
49.5  cm.) 

Dean  Stockwell 

34.  Untitled.  1956-57 
Woodstain  and  ink  on 
parchment  on  canvas 
19y2  X  19y2  in.  (49.5  x 
49.5  cm.) 

Lynn  Factor,  Brentwood. 
California 

35.  Untitled.  1956-57 
Woodstain  and  ink  on 
parchment  on  canvas 
19'/2  X  19'^  in.  (49.5  x 
49.5  cm.) 

Hal  Glicksman 

36.  Untitled.  1956-57 
Woodstain  and  ink  on 
parchment  on  canvas 
19'/2  X  19'/2  in.  (49.5  x 
49.5  cm.) 

Walter  Hopps, 
Washington,  D.C. 


Herman's  arrest  at  Ferus 
Gallery,  1957 


60 


7 

r 

34 


^ 


'* 


■f  ii 


fv 


}    *^' 


23-31 


36 


62 


Ronald  Davis 


37.  Dodecagon.  1968 
Polyester  resin  and 
fiberglass 

6OV2X  136  in.  (153.7  X 

345.4  cm.) 

Lent  by  the  artist 

38.  Backup,  1968 
Polyester  resin  and 
fiberglass 

6OV2X  136  in.  (153.7  X 

345.4  cm.) 

Lent  by  the  artist 

39.  Ruto.  1968 
Polyester  resin  and 
fiberglass 

60'/2  X  136  in.  (153.7  X 
345.4  cm.) 
Los  Angeles  County 
Museum  of  Art 
Museum  Purchase, 
Contemporary  Art 
Council  Funds 
M.69.8 

40.  Zodiac,  1969 
Polyester  resin  and 
fiberglass 

60'/2  X  136  m.  (153.7  x 

345.4  cm.) 

Lent  by  the  artist 

41.  Black  Tear,  1969 
Polyester  resin  and 
fiberglass 

60'/2  X  136  in.  (153.7  X 
345.4  cm.) 
Robert  Rowan 

42.  Dual  Level,  1969 
Polyester  resin  and 
fiberglass 

60'/2x  136  in.  (153.7  X 

345.4  cm.) 

Lent  bv  the  artist 


41 


64 


38 
37 


i 


A 


^\ 


^> 


^ '  %\ 


Richard  Diebenkorn 


43.  Ocean  Park  #7.  1968 
Oil  on  canvas 

93  X  80  in.  (236.2  X 

203.2  cm.) 

Mr.  and  Mrs.  Gilbert  H. 

Kinney 

44.  Ocean  Park  #9.  1968 
Oil  on  canvas 

82  X  78  in.  (208.3  X 

198.1cm.) 

The  Times  Mirror 

Company,  Los  Angeles 

45.  Ocean  Park  #14.  1968 
Oil  on  canvas 

93  X  80  in.  (236.2  X 

203.2  cm.) 

Mr.  and  Mrs.  Philip  Gersh 

46.  Ocean  Park  #16.  1968 
Oil  on  canvas 

92%  X  76  in.  (235.3  x 
193  cm.) 

Milwaukee  Art  Center 
Collection,  Wisconsin 
Gift  of  Jane  Bradley  Pettit 

47.  Ocean  Park  #27.  1970 
Oil  on  canvas 

100'/2  X  81%  in.  (255.2  X 

207.3  cm.) 

The  Brooklyn  Museum, 
New  York.  Gift  of  the 
Roebling  Society.  Mr.  and 
Mrs.  Charles  H.  Blatt,  and 
Mr.  and  Mrs.  William  K. 
Jacobs,  Jr. 


66 


44 


43 


47 


1 
''       1 

1 

I 

A 

t 
1 

1 

* 

68 


Sam  Francis 


53 


48.  Untitled.  1968 
Acrylic  on  paper 
41x27  in.  (104.2  X 
68.6  cm.) 

Lent  by  the  artist 

49.  Untitled.  1968 
Acrylic  on  paper 
41x27  in.  (104.2  X 
68.6  cm.) 

Lent  by  the  artist 

50.  Untitled.  1968 
Acrylic  on  paper 
27x41  in.  (68.6  X 
104.2  cm.) 

Lent  by  the  artist 

51.  Untitled.  1968-69 
Acrylic  on  paper 
48x63  in.  (121.9x160  cm.) 
Lent  by  the  artist 


52.  Berkeley,  1970 
Acrylic  on  canvas 
168  X  108  in.  (4267  X 
274.3  cm.) 

University  Art  Museum, 
University  of  California, 
Berkeley.  Purchased  with 
the  aid  of  funds  from  the 
Janss  Foundation  and  the 
National  Endowment  for 
the  Arts 

53.  Looking  Through.  1970 
Acrylic  on  canvas 

96  X  120  in.  (243.8  X 

304.8  cm.) 

Lent  by  the  artist 

54.  Untitled.  1970 
Aci-ylic  on  canvas 
108  X  80  in,  (274.3  X 
203.2  cm.) 

Lent  by  the  artist 


•>         H 


0 


i 


•3 


54 


P 


70 


Joe  Goode 


56 


55.  Unmade  Bed  Triptych.  1968 
Oil  on  canvas  with 
Plexiglas 

3  panels,  each  60  x  60  in. 
(152.4  X  152.4  cm.) 
Lent  anonymously 

56.  Unmade  Bed.  1968 
Oil  on  canvas  with 
Plexiglas 

60  X  60  in.  (152.4  x 

152.4  cm.) 

Lent  anonymously 


57.  Unmade  Bed,  1968 
Oil  on  canvas  with 
Plexiglas 

60x60  in.  (152.4  x 
152.4  cm.) 
Laura-Lee  and  Bob  Woods 


'■j'^^r 


57 


72 


David  Hocknev 


58.  Beverly  Hills  Housewife, 
1966 

Acrylic  on  canvas  (diptych) 
72  X  144  in.  (182.9  X 
365.8  cm.) 
Private  collection, 
Los  Angeles 

59.  A  Lawn  Being  Sprinkled, 
1967 

Acrylic  on  canvas 

60  X  60  in.  (152.4  X 

152.4  cm.) 

Collection  of  Frances  and 

Norman  Lear 


60.  Christopher  hherwood 
and  Don  Bachardy,  1968 
Acrylic  on  canvas 
8314  X  119V4  in.  (212.1  x 
303.5  cm.) 
Sir  John  Foster 


59 


■  in,.,,  ((ml' 


nmk 


74 


60 


Robert  Irwin 


61.  Untitled,  c.  1959 
Oil  on  canvas 

65  X  66  in.  (165.1  x 

167.6  cm.) 

Lent  by  the  artist 

62.  Untitled.  1962 
Oil  on  canvas 

82'/2  X  84 '/2  in.  (209.5  x 
214.6  cm.) 

Collection  of  the  La  Jolla 
Museum  of  Contemporary 
Art,  California 

63.  Untitled.  1963-64 
Oil  on  canvas 

82'/2  x84'^  in.  (209.5  X 
214.6cm.) 
Milly  and  Arnold 
Glimcher,  New  York 

64.  Untitled,  1963-65 
Oil  on  canvas 
82'/2x84'/2  in.  (209.5  X 
214.6  cm.) 

Whitney  Museum  of 
American  Art.  New  York 
Gift  of  Fredric  Mueller, 
1977.  77.108 

65.  Untitled.  1963-65 
Oil  on  canvas 
82V2X84V2  in.  (209.5  x 
214.6  cm.) 

Edward  and  Melinda 
Wortz 


76 


Craig  Kauffman 


66.  Still  Life  with  Electric  Fan 
and  Respirator,  1958 

Oil  on  canvas 

48  X  60  in.  (121.9  x 

152.4  cm.) 

Artist  Studio,  Venice, 

California 

67.  Untitled  Wall  Relief,  1967 
Sprayed  acrylic  lacquer  on 
vacuum-formed  Plexiglas 
50  X  72  X  15  in.  (127  X 
182.9x38.1  cm.) 

Los  Angeles  County 
Museum  of  Art 
Gift  of  the  Kleiner 
Foundation 
M.73. 38.10 

68.  Untitled.  1968 

Sprayed  acrylic  lacquer  on 
vacuum-formed  Plexiglas 
44  X  89  X  17  in.  (111.8  X 
226.1  x  43.2  cm.) 
Asher/Faure  Gallery,  Los 
Angeles 


69.  Untitled.  1968 

Sprayed  acrylic  lacquer  on 
vacuum-formed  Plexiglas 
34%  X  56'/4  x  8'/4  in.  (87.3  x 
142.9x21  cm.) 
Asher/Faure  Gallery,  Los 
Angeles 

70.  Untitled.  1968 

Sprayed  acrylic  lacquer  on 
vacuum-formed  Plexiglas 
19x55'Axl0in.  (48.3x 
141x25.4  cm.) 
Judge  Kurtz  Kauffman 

71.  Untitled.  1968 

Sprayed  acrylic  lacquer  on 
vacuum-formed  Plexiglas 
24x52x  17  in.  161x132.1 
X  43.2  cm.) 
Vivian  Kauffman 

72.  Untitled.  1968 

Sprayed  acrylic  lacquer  on 
vacuum-formed  Plexiglas 
42  X  92  X  15  in.  ( 106.7  x 
233.7x38.1  cm.) 
Edward  and  Melinda 
Wortz 


70 


mtlHiiit^^ 


78 


69 


68 


Edward  Kienholz 


73.  Untitled.  1958 
Mixed  media 

49'/4  xSOVa  in.  (125.1  X 
76.8  cm.) 
Lyn  Kienholz 

74.  Hope  for  '36. 1959 
Mixed  media 

37'/2  xlSVzin.  (95.3x 

47  cm.) 

Lyn  Kienholz 

75.  The  Illegal  Operation, 
1962 

Materials  include 
fiberglassed  shopping  cart, 
furniture,  concrete, 
medical  implements 
59  X  48  X  54  in. 
(149.9  x  121.9  X  137.2  cm.) 
Betty  and  Monte  Factor 
Family  Collection 

76.  The  Back  Seat  Dodge  '38, 
1964 

Materials  include  paints, 
fiberglass  and  flock,  1938 
Dodge,  chicken  wire,  beer 
bottles,  artificial  grass, 
cast  plaster  figure 
66  X  240  X  144  in.  (168  X 
610  x356  cm.) 
Lyn  Kienholz 


80 


76 


75 


John  McLaughlin 


77.  #20.  1960 
Oil  on  canvas 

48x36  in.  (121.9x91.4  cm.) 
Private  collection. 
New  York 

78.  #34.  1960 
Oil  on  canvas 

36  X  48  in.  (91.4  X 
121.9  cm.) 
Private  collection, 
New  York 

79.  Untitled.  1961 
Oil  on  canvas 

48  X  60  in.  (121.9  X 
152.4  cm.) 
Robert  Rowan 

80.  #9.  1962 

Oil  on  canvas 

42  X  60  in.  (106.7  X 

152.4  cm.) 

Mr  and  Mrs.  Morris  S. 

Pynoos 

81.  #5, 1963 

Oil  on  canvas 

48  X  60  in.  (121.9  x 

152.4  cm.) 

Lent  anonymously 


77 


78 
79 


Edward  Moses 


82.  Rafe  Bone,  1958 
Oil  on  canvas 

72  X  64  in.  (182.9  X 

162.5  cm.) 
Hanna  Renneker 

83.  Rose  #i.  1961 
Graphite  on  paper 
60x40  in.  (152.4  X 

101.6  cm.) 

Lent  by  the  artist 

84.  flo.se  #2.  1963 
Graphite  on  paper 
60x40  in.  (152.4  X 
101.6  cm.) 

Mr  and  Mrs.  Henry 
Shapiro,  Chicago 

85.  Rose  #3.  1963 
Graphite  on  paper 
60  X  40  in.  (152.4  X 
101.6  cm.) 

Laura-Lee  and  Bob  Woods 

86.  Rose  #4.  1963 

Silver  paint  and  graphite 

on  paper 

60  X  40  in.  (152.4  X 

101.6  cm.) 

Lent  by  the  artist 


87.  Rose  #5,  1963 
Graphite  on  paper 
60  X  40  in.  (152.4  x 
101.6  cm.) 

Lent  by  the  artist 

88.  Rose  #6,  1963 
Graphite  on  paper 
60  X  40  in.  (152.4  x 
lOLBcm.) 

Mr  and  Mrs.  Richard 
Jerome  O'Neill 

89.  Rose  Screen,  1963 
Graphite  on  paper 

4  panels,  each  59%  x  21  Vj 
in.  (152.1x54.6  cm.) 
Mr  and  Mrs.  Richard 
Jerome  O'Neill 


iii.«. 


86 


83 


85 


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89 


88 


Bruce  Nauman 


90.  My  Last  Name  Extended 
Vertically  14  Times,  1967 
Graphite  and  pastel  on 
paper 

81%  X  34  in.  (207.7  X 

86.4  cm.) 

Oilman  Paper  Company 

Collection 

91.  My  Last  Name 
Exaggerated  14  Times 
Vertically,  1967 

Pale  purple  neon  tubing 
63x33  in.  (160x83.8  cm.) 
1981  reconstruction  by 
Los  Angeles  County 
Museum  of  Art 
Courtesy  of  Giuseppe 
Panza  di  Biumo,  Milan, 
Italy,  and  the  artist 


92.    Video  Corridor:  Line  and 
Taped,  1969 

Two  walls  separated  by  20 
in.  (50.8  cm.),  two  TV 
monitors,  one  TV  camera, 
one  play-back  machine 
1981  reconstruction  by 
Los  Angeles  County 
Museum  of  Art 
Courtesy  of  Giuseppe 
Panza  di  Biumo,  Milan, 
Italy,  and  the  artist 


92 


90 


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90 


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Kenneth  Price 


93.  Untitled.  1959 
Earthenware 

h:  21  in.  (53.3  cm.);  w.  at 
base:  20  in.  (50.8  cm.) 
Arti.st  studio,  Venice, 
California 

94.  M.Green.  1961 

Fired  and  painted  clay 

10x13  xU'/^  in.  (25.4x33 

X  29.2  cm.) 

with  pedestal:  59V2  x  26  x 

12  in.  (151.2  X  66  X 

30.5  cm.) 

Bettv  Asher 


96.  B.  T.  Blue.  1963 
Fired  and  painted  clay 

lOxSViin.  (25.4x 

16.5  cm.) 

Becky  and  Peter  Smith 

97.  S.L.Green.  1963 
Fired  and  painted  clay 
9%xl0"/4xl0M!in.  (24.4x 
26.7  x  26.7  cm.) 
Whitney  Museum  of 
American  Art,  New  York 
Gift  of  the  Howard  and 
Jean  Lipman  Foundation, 
Inc.,  1966.  66.35 


95.  Blue  Egg.  1962 

Fired  and  painted  clay 
7  X  5  X  5  in.  (178  x  12.7  x 
12.7  cm.) 
Dr  and  Mrs.  Merle  S.  Glick 


98.  Pink  Egg,  1964 

Fired  and  painted  clay 

6  X  5',4  X  5V4  in.  (15.2  x  14 

X  14  cm.) 

h.  with  stand:  70  in. 

(177.8  cm.) 

Betty  and  Monte  Factor 

Family  Collection 


92 


95 


98 


94 


i- 


Edward  Ruscha 


SS^i^^^WilJh 


99.  Boss,  1961 
Oil  on  canvas 
71  X  66  in.  (180.3  X 
167.6  cm.) 
Dr  Leopold  S  Tuchman 

100.  Ac^ua/ Size,  1962 
Oil  on  canvas 
72x67  in.  (182.9  X 
170.2  cm.) 

Los  Angeles  County 
Museum  of  Art 
Anonymous  gift  through 
the  Contemporary 
Art  Council 
M.63.14 

101.  Annie.  1962 
Oil  on  canvas 
7Ix66'/2  in.  (180.3  X 
168.9  cm.) 

Betty  Asher 

102.  Noise.  Pencil.  Broken 
Pencil,  Cheap  Western. 
1963 

Oil  on  canvas 
71x67  in.  1180.3  x 
170.2  cm.) 

Sydney  and  Frances 
Lewis  Collection 


P: 


103.  Standard  Station 
Amanllo,  Texas.  1963 
Oil  on  canvas 
65x124  in.  Il6.').lx 
315  cm,) 

Dartmouth  College 
Museum  and  Galleries, 
Hanover,  New  Hampshire 
Gift  of  James  J.  Meeker, 
Dartmouth  College  Class 
of  1958 

104.  Won't.  1964 
Oil  on  canvas 

72  x  67  in.  (182.9  x 

170.2  cm.) 

Lent  anonymously 


Books 

105.  Various  Small  Fires  and 
Milk,  1964 

Self-published  in  Los 
Angeles 

First  edition  il964): 

400  signed 

Second  edition  (1970): 

3,000  unsigned, 

unnumbered, 

48  pp.;  .soft cover,  sewn 

binding,  glassine 

dust  jacket 

16  photographs 

7  X  5'/.  in.  (17.8  x  14  cm.) 

Los  Angeles  County 

Museum  of  Art 

106.  Some  Los  Angeles 
Apartments.  1965 
Self-published  in  Los 
Angeles 

First  edition  (1965):  700 

Second  edition  (1970): 

3,000  unsigned, 

unnumbered, 

44  pp.;  .softcover,  sewn 

binding,  glassine 

dust  jacket 

36  photographs 

7x5'/..  in.  (17.8  X  14  cm.) 

Los  Angeles  County 

Museum  of  Art 

107.  Every  Huihlinn  on  the 
Sunset  Strip.  1966 
Self-published  in  Los 
Angeles 

First  edition  (1966):  1,000 
Second  edition  (1970): 
5,000  unsigned, 
unnumbered, 
one  continuous  38  fl.  4% 
in.  111.70  m.) 
accordion-folded  sheet, 
two  strips  of  photographs 
(top  and  bottom), 
softcover.  Mylar  slipcase 
7  X  9''-2  in.  (17.8  X  24  cm.) 
Los  Angeles  County 
Museum  of  Art 


108.  Twentysix  Gasoline 
Stations.  1962 
Self-published  in  Los 
Angeles 

First  edition  (1962):  400 

unsigned,  numbered 

Second  edition  (1967): 

500  unsigned, 

unnumbered 

Third  edit  ion  1 1969):  3,000 

unsigned,  unnumbered, 

48  pp  ;  offset,  .softcover, 

perfect  binding,  glassine 

dust  jacket 

26  photographs 

7x  5'/2  in.  (17.8  X  14  cm.) 

Los  Angeles  County 

Museum  of  Art 

109.  Royal  Road  Test.  1967 
(by  Edward  Ru.scha, 
Mason  Williams,  and 
Patrick  Blackwell) 
Self-published  in  Los 
Angeles 

First  edition  (1967):  1,000 

Second  edition  (1969): 

1,000 

Third  edition  11971):  2,000 

unsigned,  unnumbered 

Fourth  edition  (1980): 

1,500  unsigned, 

unnumbered, 

56  pp  ;  softcover, 

spiral  binding 

35  photographs 

9'/ix6'/4  in.  (24.1  x 

15.9  cm.) 

Los  Angeles  County 

Museum  of  Art 


102 


103 


110.  Thtrlyfour  Parking  Lots 
in  Los  Angeles,  1967 
Self-published  in  Los 
Angeles 

First  edition  (1967):  2,413 
unsigned,  unnumbered 
Second  edition  (1974): 
2,000  unsigned, 
unnumbered, 
48  pp.;  softcover, 
perfect  binding 
31  photographs 
by  Art  Alanis 
10  X  8  in.  (25.4x20.3  cm.) 
Los  Angeles  County 
Museum  of  Art 

111.  Nine  Swimming  Pools 
and  a  Broken  Glass,  1968 
Self-published  in  Los 
Angeles 

First  edition  (1968):  2,400 
Second  edition  (1976): 
2,000  unsigned, 
unnumbered 

64  pp.;  softcover,  sewn  bind- 
ing, glassine  dust  jacket 
7'/8  x5'/2in.  (18xl4cm.) 
Los  Angeles  County 
Museum  of  Art 


112.  S/a(7i.s,  1969 
Self-published  in 
Hollywood,  California; 
Heavy  Industry 
Publications 
Edition  of  70  signed, 
numbered  (1-70) 

78  loose  sheets 

interleaved  with  tissue, 

contained  in  black 

leather  box  lined  with 

white  silk 

11%  x  10%  in.  (30  X 

27.6  cm.) 

Lent  by  the  artist 

113.  Business  Cards,  1968 
8%  x  5%  in.  (22.2  X 
14.3  cm.) 
Self-published  in 
Hollywood,  California, 
with  Billy  Al  Bengston 
Courtesy  of  Heavy 
Industry  Publications 


101 


Peter  Voulkos 


114.  5,000  Feel.  1958 
Fired  clay 

Including  base:  AbV2  x 
2l"hf.  xl3  in.  (115.6  X 
55.9  X  33  cm.) 

Los  Angeles  County 
Museum  of  Art 
Purchase  Award,  Annual 
Exhibition  of  Los 
Angeles  and  Vicinity 
M. 59.16 

115.  Rondena,  1958 
Stoneware 

h:  64  in.  (162.5  cm.) 
Mr  and  Mrs.  Stanley  K. 
Sheinbaum 

116.  Camelback  Mountain, 
1959 

Fired  clay 

45 '/a  X  19'/2  x  2OV4  in. 

(115.6x49.5x51.4  cm.) 

Museum  of  Fine  Arts, 

Boston.  Gift  of  Mr  and 

Mrs.  Stephen  D,  Paine, 

1978.690 


117.  Little  Big  Horn.  1959 
Stoneware 

59%  X  40x33  in.  (1517  x 
101.6x83.8  cm.) 
Collection  of  The  Oakland 
Museum,  California 
Gift  of  the  Art  Guild  of 
the  Oakland  Museum 
Association 

118.  Silling  Bull.  1959 
Fired  clay 

69x37x37  in.  (175.3  x 
94x94  cm.) 
Collection  of  the  Santa 
Barbara  Museum  of  Art, 
California.  Bequest  of 
Hans  G  M  De  Schulthe.ss 


98 


117 


118 


114 


100 


Exhibition  Histories  and  Bibliographies 


Larry  Bell 

Born  in  Chicago,  1939;  resi- 
dent of  Los  Angeles,  1945-73; 
lives  in  Taos,  New  Mexico. 
Attended  Chouinard  Art  Insti- 
tute, Los  Angeles,  1957-59. 

Selected  One-Man 
Exhibitions 

Ferus  Gallery,  Los  Angeles, 
1962, 1963, 1965. 

Pace  Gallery,  New  York,  1965, 
1967, 1970, 1971, 1972, 1973. 

Galerie  Ileana  Sonnabend, 
Paris,  1967. 

Stedelijk  Museum,  Amsterdam, 
1967. 

Riko  Mizuno  Gallery,  Los 
Angeles,  1969, 1971. 

Ace  Gallery,  Los  Angeles, 
1970,1971. 

Galerie  Rudolf  Zwirner, 
Cologne,  West  Germany,  1970. 

Helman  Gallery,  St.  Louis, 
Missouri,  1971. 

Wilmaro  Gallery,  Denver, 
Colorado,  1972. 

Felicity  Samuel  Gallery, 
London,  1972. 

Pasadena  Art  Museum, 
California,  1972. 

Bonython  Gallery,  Sydney, 
Australia,  1973. 

The  Oakland  Museum, 
California,  1973 

Marlborough  Galleria  d'Arte, 
Rome,  1974. 

Fort  Worth  Art  Museum, 
Texas,  1975. 

Tally  Richards  Gallery  of 
Contemporary  Art,  Taos,  New 
Mexico,  1975, 1978, 1979, 1980. 

The  Santa  Barbara  Museum  of 
Art,  California,  1976. 

Art  Museum  of  South  Texas, 
Corpus  Christi,  1976. 

Hayden  Gallery,  Massachusetts 
Institute  of  Technology, 
Cambridge,  1977. 

University  of  Massachusetts, 
Amherst,  1977. 

Texas  Gallery,  Houston,  1978. 

Erica  Williams/ Anne  Johnson 
Gallery,  Seattle,  Washington, 
1978. 


University  of  New  Mexico, 
Albuquerque,  1978. 

Roswell  Museum  and  Art  Cen- 
ter, New  Mexico,  1978. 

Multiples  Gallery,  New  York, 
1979 

Sebastian-Moore  Gallery, 
Denver,  Colorado,  1979, 1980. 

Hill's  Gallery  of  Contemporary 
Art,  Santa  Fe,  New  Mexico, 
1979, 1980. 

Hansen  Fuller  Gallery,  San 
Francisco,  1979. 

Janus  Gallery,  Venice, 
California,  1979. 

Marian  Goodman  Gallery, 
New  York,  1979, 1981. 

The  Hudson  River  Museum, 
Yonkers,  New  York.  1981. 

Selected  Group  Exhibitions 

War  BabieH,  Huysman  Gallery, 
Los  Angeles,  1961. 

California  Hard-Edge  Painting, 
The  Fine  Arts  Patrons  of 
Newport  Harbor,  Balboa  Pavil- 
ion Gallery,  California,  1964. 

Boxes,  Dwan  Gallery,  Los 
Angeles,  1964. 

5  at  Pace,  Pace  Gallery,  New 
York,  1965. 

Shape  and  Structure,  Tibor  de 
Nagy  Gallery,  New  York,  1965. 

The  Responsive  Eye,  The 
Museum  of  Modern  Art,  New 
York, 1965. 

Via  Bienal  de  Sao  Paulo, 
Brazil,  1965. 

Five  Los  Angeles  Sculptors  and 
Sculptors'  Drawings.  Univer- 
sity of  California,  Irvine,  1966. 

Primary  Structures,  The  Jewish 
Museum,  New  York,  1966. 

Ten  from  Los  Angeles,  Seattle 
Art  Museum,  Washington, 
1966. 

Los  A  ngeles  Now.  Robert 
Fra.ser  Gallery,  London,  1966. 

American  Sculpture  of  the 
Sixties,  Los  Angeles  County 
Museumof  Art,  1967. 

A  New  Aesthetic,  Washington 
Gallery  of  Modern  Art, 
Wa.shington,  DC,  1967. 


Los  Angeles  6,  Vancouver  Art 
Gallery,  British  Columbia, 
1968. 

6  Artists:  6  Exhibitions, 
Walker  Art  Center,  Minne- 
apolis, Minnesota,  1968. 

Documenta  4,  Kassel,  We.st 
Germany,  1968. 

Serial  Imagery,  Pasadena  Art 
Museum,  California,  1968. 

14  Sculptors:  The  Industrial 
Edge.  Walker  Art  Center, 
Minneapolis,  Minnesota,  1969. 

Kompas  4:  West  Coast  USA, 
Stedelijk  van  Abbemuseum, 
Eindhoven,  The  Netherlands, 
1969. 

Spaces,  The  Mu.seum  of 
Modern  Art,  New  York,  1969. 

Three  from  Los  Angeles:  Irwin, 
Bell,  Kauffman,  Dunkleman 
Gallery,  Montreal,  1969. 

Larry  Bell,  Robert  Irwin,  Doug 
Wheeler,  The  Tate  Gallery, 
London,  1970. 

American  Art  since  I960, 
Princeton  University,  New 
Jersey,  1970. 

Transparency,  Reflection,  Light, 
Space:  Four  Artists,  The  UCLA 
Art  Galleries,  University  of 
California,  Los  Angeles,  1971. 

Works  for  New  Spaces,  Walker 
Art  Center,  Minneapolis, 
Minnesota,  1971. 

11  Los  Angeles  Artists,  Hay- 
ward  Gallery,  London,  1971 
(traveled  to  Musees  Royaux 
des  Beaux-Arts,  Brussels; 
Akademie  der  Kiinste,  Berlin, 
West  Germany). 

USA  West  Coast,  Kunstverein, 
Hamburg,  West  Germany, 
1972  (traveled  to  Kunstverein, 
Hannover;  Kolnischer  Kunst- 
verein, Cologne;  Wiirttemberg- 
isher  Kunstverein,  Stuttgart). 

Art  in  Space,  The  Detroit 
Inslituteof  Arts,  1973. 

Illuminations  and  Reflections, 
Whitney  Museum  of  American 
Art,  New  York,  1974. 

The  Condition  of  Sculpture, 
Hayward  Gallery,  London, 
1975. 

Sculpture:  American  Directions, 
1945-1975,  National  Collec- 
tion of  Fine  Arts,  Smithsonian 
Institution,  Washington,  D.C., 
1975. 

The  Last  Time  I  Saw  Ferus, 
1957-1966,  Newport  Harbor 
Art  Museum,  Newport  Beach, 
California,  1976. 

200  Years  of  American 
Sculpture,  Whitney  Museum 
of  American  Art,  New  York, 
1976. 

Venice  Biennale,  Italy,  1976. 


Painting  and  Sculpture  in 
California:  The  Modern  Era, 
San  Francisco  Museum  of 
Modern  Art,  1976  (traveled  to 
National  Collection  of  Fine 
Arts,  Smithsonian  Institution, 
Washington,  DC). 

Seasons  of  the  Fountain,  Larry 
Bell  and  Eric  Orr,  Multiples 
Gallery.  New  York,  1978. 

Re/liTlions  of  Realism, 
Albuquerque  Museum,  New 
Mexico,  1979. 

California  Perceptions:  Light 
and  Space,  California  State 
University,  Fullerton,  1979. 

Beyond  Object,  Aspen  Center 
for  the  Visual  Arts,  Colorado, 
1980. 

Here  and  Now:  35  Artists  in 
New  Mexico,  Albuquerque 
Museum,  New  Mexico,  1980. 

Selected  Bibliography 

Jules  Langsner,  "America's 
Second  Art  City,"  Art  in 
America,  vol.  51,  no.  2,  March- 
April  1963,  pp.  127-31. 

John  Coplans,  "Three  Los 
A.ngeles  Artists,"  Arlforum. 
vol.  1,  no.  10.  April  1963, 
pp.  29-31. 

John  Coplans,  "Formal  Art," 
Artforum,  vol.  2,  no.  12,  summer 

1964,  pp  42-46. 

Philip  Leider,  "The  Cool 
School,'  Artforum,  vol.  2,  no. 
12,  summer  1964,  pp.  47-52. 

Philip  Leider,  "Saint  Andy," 
Artforum.  vol.  3,  no.  5,  Feb- 
ruary 1965,  pp.  26-28  (with 
statement  by  Bell  on  Warhol). 

Dore  Ashton,  "New  Sculpture 
Fresh  in  Old  Techniques," 
Studio  International,  vol.  169, 
no  866,  June  1965,  p.  263. 

John  Coplans,  "Larry  Bell," 
Artforum,  vol.  3,  no.  9,  June 

1965.  pp.  27-29. 

Donald  Judd,  "Specific 
Objects,"  Arts  Yearbook,  vol.  8, 
1965,  pp.  74-82. 

Walter  Hopps.  Exhibition  of 
the  United  States  of  America: 
Vin  Bienal  de  Sao  Paulo, 
Brazil,  1965. 

Mel  Bochner,  "In  the  Galleries: 
Larry  Bell,"  Arts  Magazine, 
vol.  40,  no  3,  January  1966, 
pp.  54-55. 

John  Coplans,  "1ms  Angeles: 
Object  Lesson,"  Art  News,  vol. 
64,  no.  9,  January  1966,  p.  40. 

Barbara  Rose,  "Los  Angeles, 
The  Second  City,"  Art  in 
America,  vol.  54,  no.  1, 
January- February  1966, 
pp.  110-15. 

Lucy  R.  Lippard,  "New  York 
Letter:  Recent  Sculpture 
Escape,"  Art  International, 
vol.  10,  no.  2,  February  1966, 
pp.  52-53. 


Robert  Smithson,  "Entropy  and 
New  Monuments,"  Artforum, 
vol.  4,  no.  10,  June  1966, 
pp.  26-31. 

Peter  Plagens,  "Present-Day 
Styles  and  Ready-Made 
Criticism,"  Artforum,  vol.  5, 
no.  4,  December  1966,  pp.  36-39. 

John  Coplans,  Ten  from  Los 
Angeles,  Seattle  Art  Museum, 
Washington,  1966. 

Fidel  Danieli,  "Bell's  Progress," 
Arlforuni,  vol.  5,  no.  10,  sum- 
mer 1967,  pp.  68-71. 

Robert  Morris,  "Notes  on 
Sculpture,  Part  3,  Notes  and 
Nonsequiturs,"  Artforum, 
vol.  5,  no.  10,  summer  1967, 
pp.  24-29. 

Barbara  Rose,  A  New  Aesthetic, 
Washington  Gallery  of  Modern 
Art,  Washington,  D.C.,  1967 
(with  statement  by  Bell). 
Barbara  Ro.se,  American  Art 
since  1900,  New  York,  1967. 

Raphael  Sorin  and  Annette 
Michelson,  Larry  Bell.  Galerie 
Ileana  Sonnabend,  Paris,  1967. 

Michael  Kirby,  "Sculpture  as 
Visual  Instrument,"  Art  Inter- 
national, vol.  12,  no.  8,  October 
1968,  pp.  35-37. 

John  Coplans,  Serial  Imagery, 
Pasadena  Art  Museum, 
California,  1968. 

John  Coplans,  Los  A;!ge/cs  6, 
Vancouver  Art  Gallery,  British 
Columbia,  1968  (with  Bell 
interview). 

Barbara  Rose,  Christopher 
Finch,  and  Martin  Friedman, 
14  Sculptors:  The  Industrial 
Edge,  Walker  Art  Center, 
Minneapolis,  Minnesota,  1969. 

Michael  Compton,  "Controlled 
Environment,"  Art  and  Artists, 
vol.  5,  no.  2,  May  1970,  p.  45. 

Phyllis  Tuchman,  "American 
Art  in  Germany:  The  History 
of  a  Phenomenon,"  Artforum, 
vol.  9,  no.  3,  November  1970, 
pp.  58-69. 

Michael  Compton  and  Norman 
Reid,  Larry  Bell,  Robert  Irwin, 
Doug  Wheeler.  The  Tate  Gal- 
lery, London,  1970. 

Maurice  Tuchman,  A  Report 
on  the  Art  and  Technology 
Program  of  the  Los  Angeles 
County  Museum  of  Art,  Los 
Angeles,  1971. 

Frederick  S.  Wight,  Transpar- 
ency, Reflection,  Light,  Space: 
Four  Artists,  The  UCLA  Art 
Galleries,  University  of 
California,  Los  Angeles,  1971. 

Alistair  Mackintosh,  "Larry 
Bell,"  Art  and  Artists,  vol.  6, 
no.  70,  January  1972,  pp.  39-41. 

Peter  Plagens,  "Larry  Bell 
Reassesses,"  Artforum,  vol.  11. 
no.  2,  October  1972,  pp.  71-73. 


Barbara  Haskell,  Larry  Bell. 
Pasadena  Art  Museum, 
California,  1972. 

Helmut  Heissenbiittel  and 
Helene  Winer,  USA  West 
Coast,  Kunstverein,  Hamburg, 
West  Germany,  1972. 

Germain  Viatte,  "Rever  la 
Defense,"  LOeil.  October  1974, 
p.  6. 

Norman  Laliberte  and  Alex 
Mogelon,  Art  in  Boxes,  New 
York, 1974. 

Peter  Plagens,  Sunshine  Muse: 
Contemporary  Art  on  the  West 
Coast,  New  York,  1974. 

H.  H.  Arnason,  History  of 
Modern  Art.  New  York,  1975. 

Barbara  Rose,  ed.,  Readings  in 
American  Art.  1900-1975.  New 
York, 1975. 

William  TXjcker,  The  Condition 
of  Sculpture,  Hayward  Gallery, 
London. 1975. 

Janet  Kutner,  "Larry  Bell's 
Iceberg,"  Arts  Magazine, 
vol.  50,  no.  5,  January  1976, 
pp.  62-66. 

Gerrit  Henry,  "Larry  Bell  and 
Eric  Orr,"  Art  News,  vol.  77, 
no.  4,  April  1978,  pp.  152-63. 

Jan  Butterfield,  "Larry  Bell: 
Transparent  Motif"  (inter- 
view). Art  in  America,  vol.  66, 
no.  5,  September-October 
1978,  pp.  95-99. 

"Larry  Bell,"  interview  by 
Michele  D.  De  Angelus, 
Archives  of  American  Art, 
Smithsonian  Institution, 
Washington,  D.C.,  May  1980. 

Robert  Creeley,  Richard 
Koshalek,  Melinda  Wortz,  and 
Larry  Bell,  Larrv  Bell:  New 
Work,  The  Hudson  River 
Museum,  New  York,  1981. 


Billy  Al  Bengston 

Born  in  Dodge  City,  Kansas, 
1934;  moved  to  Los  Angeles, 
1949;  lives  in  Santa  Monica, 
California. 

Attended  Los  Angeles  City 
College,  1952;  California  Col- 
lege of  Arts  and  Crafts,  Oak- 
land, 1955;  Otis  Art  Institute, 
Los  Angeles,  1956. 

Selected  One-Man 
Exhibitions 

Ferus  Gallery,  Los  Angeles, 
1958, 1960, 1961, 1962, 1963. 

Martha  Jackson  Gallery,  New 
York,  1962. 

Los  Angeles  County  Museum 
of  Art,  1968  (retrospective). 

San  Francisco  Museum  of  Art, 
1968. 

Pasadena  Art  Museum, 
California,  1969. 

Utah  Museum  of  Fine  Arts, 
Salt  Lake  City,  1969. 

The  Santa  Barbara  Museum  of 
Art.  California,  1970. 

Riko  Mizuno  Gallery,  Los 
Angeles,  1970. 

Galerie  Neuendorf,  Hamburg, 
West  Germany,  1970, 1972. 

Margo  Leavin  Gallery,  Los 
Angeles,  1971. 

La  Jolla  Museum  of  Art, 
California,  1971. 

Galerie  Neuendorf,  Cologne, 
West  Germany,  1971. 

Felicity  Samuel  Gallery, 
London,  1972. 

Nicholas  Wilder  Gallery,  Los 
Angeles,  1973, 1974. 

Contemporary  Arts  Museum, 
Houston,  Texas,  1973. 

Pollock  Gallery,  Southern 
Methodist  University,  Dallas, 
Texas,  1973. 

Texas  Gallery,  Houston,  1973, 
1974. 1976, 1977, 1978, 1979. 

John  Berggruen  Gallery,  San 
Francisco,  1974, 1978. 

Jared  Sable  Gallery,  Toronto, 
1974. 

Tortue  Gallery,  Santa  Monica, 
California,  1975. 

Portland  Center  for  the  Visual 
Arts,  Oregon,  1976. 

University  of  Montana, 
Missoula,  1977. 

James  Corcoran  Gallery,  Los 
Angeles,  1977, 1978, 1980. 

Security  Pacific  Bank,  Los 
Angeles,  1978. 

University  of  Houston,  Texas, 
1978. 

Conejo  Valley  Art  Museum, 
Thousand  Oaks,  California, 
1979. 


Acquavella  Contemporary  Art 
Gallery,  New  York,  1979, 1981. 

Malibu  Art  and  Design, 
California,  1980. 

Honolulu  Academy  of  Arts, 
Hawaii,  1980. 

Selected  Group  Exhibitions 

Fifty  California  Artists, 
Whitney  Museum  of  American 
Art,  New  York,  1962. 

66th  American  Exhibition  of 
Painting  and  Sculpture,  The 
Art  Institute  of  Chicago,  1963; 
70th  American  Exhibition, 
1972. 

Six  More,  Los  Angeles  County 
Museum  of  Art,  1963. 

Pop  Art  USA,  Oakland  Art 
Museum,  California,  1963. 

Pop  Art  and  the  American 
Tradition,  Milwaukee  Art 
Center,  Wisconsin,  1965. 

VIII  Bienal  de  Sao  Paulo, 
Brazil,  1965. 

Ten  from  Los  Angeles,  Seattle 
Art  Museum,  Washington, 
1966. 

1967  Annual  Exhibition  of 
Contemporary  American 
Painting,  Whitney  Museum  of 
American  Art,  New  York;  1979 
Annual  Exhibition. 

Transparency!  Reflection, 
California  State  College, 
Fullerton,  1968. 

Late  Fifties  at  the  Ferus,  Los 
Angeles  County  Museum 
of  Art,  1968. 

New  Media:  New  Methods, 
The  Museum  of  Modern  Art, 
New  York,  1969. 

Graphics:  Six  West  Coast  Art- 
ists, Galleria  Milano,  Italy, 
1969. 

Three  Modern  Masters:  Billy  Al 
Bengston,  Edward  Ruscha, 
Frank  Lloyd  Wright,  Gallery 
Reese  Palley,  San  Francisco, 
1969. 

Superlimited:  Books,  Boxes, 
and  Things,  The  Jewish 
Museum,  New  York,  1969. 

Kompas  4:  West  Coast  USA, 
Stedelijk  van  Abbemuseum, 
Eindhoven,  The  Netherlands, 
1969. 

West  Coast  1945-1969, 
Pasadena  Art  Museum, 
California,  1969  (traveled  to 
City  Art  Museum  of  St.  Louis, 
Missouri;  Art  Gallery  of 
Ontario,  Toronto;  Fort  Worth 
Art  Center  Museum,  Texas). 

The  Highway,  Institute  of 
Contemporary  Art  of  the 
University  of  Pennsylvania, 
Philadelphia,  1970. 


102 


Three  California  Friends: 
Billy  Al  Bengston,  Joe  Goode, 
Ed  Ruscha,  Contemporary 
Arts  Foundation,  Oklahoma 
City,  Oklahoma,  1970. 

Looking  West  1970,  Joslyn  Art 
Museum,  Omaha,  Nebraska. 

A  Decade  of  California  Color, 
Pace  Gallery,  New  York,  1970. 

USA  West  Coast,  Kunstverein, 
Hamburg,  West  Germany, 
1972  (traveled  to  Kunstverein, 
Hannover;  Kblni.scher  Kunst- 
verein, Cologne;  Wiirttember- 
gisher  Kunstverein,  Stuttgart). 

The  State  of  California  Paint- 
ing, Govett-Brewster  Art 
Gallery,  New  Plymouth,  New 
Zealand,  1972. 

Contemporary  American  Art: 
Los  Angeles,  Fort  Worth  Art 
Center  Museum,  Texas,  1972. 

Four  Artists:  Ruscha,  Bengston, 
Alexander,  Moses,  Akron  Art 
Institute,  Ohio,  1972. 

Working  in  California, 
Albright-Knox  Art  Gallery, 
Buffalo,  New  York,  1972. 

33rd  Biennial  Exhibition  of 
Contemporary  American 
Painting,  Corcoran  Gallery  of 
Art,  Washington,  DC,  197,'3. 

American  Pop  Art,  Whitney 
Museum  of  American  Art, 
New  York,  1974. 

4  from  the  Eastl4  from  the 
West,  Art  Galleries,  University 
of  California,  Santa  Barbara, 
1975. 

Collage  and  Assemblage.  Los 
Angeles  Institute  of  Contem- 
porary Art,  1975. 

The  Last  Time  I  Saw  Ferus, 
1957-1966,  Newport  Harbor 
Art  Museum,  Newport  Beach, 
California,  1976. 

Painting  and  Sculpture  in 
California:  The  Modern  Era, 
San  Francisco  Museum  of 
Modern  Art,  1976  (traveled  to 
National  Collection  of  Fine 
Arts,  Smithsonian  Institution, 
Washington,  D.C.). 

Billy  Al  Bengston  and  Alan 
Shields,  Art  Gallery,  Georgia 
State  University,  Atlanta, 
1979. 

Selected  Bibliography 

Lawrence  Alloway,  Six  More. 
Los  Angeles  County  Museum 
of  Art,  1963. 

John  Coplans,  Pop  A r(  USA. 
Oakland  Art  Museum, 
California,  1963. 

John  Coplans,  "Billy  Al 
Bengston,"  Artforum,  vol.  3, 
no.  9,  June  1965,  pp.  36-38. 

Lucy  R.  Lippard,  Pop  Art,  New 
York,  1966. 


Fidel  Danieli,  "Billy  Al 
Bengston 's  'Dentos,'  " 
Artforum,  vol.  5,  no.  9,  May 
1967,  pp.  24-27. 

James  Monte.  "Bengston  in 
Los  Angeles,"  Artforum,  vol.  8, 
no.  3,  November  1968, 
pp.  36-40. 

Kurt  von  Meier,  Transparency! 
Reflection,  California  State 
College,  Fullerton,  1968. 

James  Monte,  Billy  Al 
Bengston,  Los  Angeles  County 
Museum  of  Art,  1968. 

Jean  Leering,  Kompas  4:  West 
Coast  USA,  Stedelijk  van 
Abbemu.seum,  Eindhoven,  The 
Netherlands,  1969. 

Carol  Lynsley,  Three  Modern 
Masters:  Billy  A I  Bengston, 
Edward  Ruscha,  Frank  Lloyd 
Wright.  Gallery  Reese  Palley, 
San  Francisco,  1969. 

Billy  Al  Bengston,  "Los 
Angeles  Artists'  Studios,"  Art 
in  America,  vol.  58,  no.  6, 
November- December  1970, 
pp.  100-109. 

Helmut  Heissenbiittel  and 
Helene  Winer,  USA  West 
Coast,  Kunstverein,  Hamburg, 
West  Germany,  1972. 

Al  Rad\o{r,  Four  ArtLsts: 
Ruscha,  Bengston,  Alexander, 
Moses,  Akron  Art  Institute, 
Ohio,  1972. 

Michael  Walls,  The  State  of 
California  Painting,  Govett- 
Brewster  Art  Gallery,  New 
Plymouth,  New  Zealand,  1972. 

William  A.  Robinson,  Perry 
Walker,  and  Henry  T.  Hopkins, 
"Bengston,  Grieger,  Goode:  3 
Interviews,"  Art  in  America, 
vol.  61,  no.  2,  March- April, 
1973,  pp.  48-53. 

Lawrence  Alloway.  American 
Pop  Art,  Whitney  Museum  of 
American  Art,  New  York,  1974. 

Peter  Plagens,  Sunshine 
Muse:  Contemporary  Art  on 
the  West  Coast.  New  York,  1974. 

Peter  Plagens,  "Billy  Al 
Bengston's  New  Paintings," 
Artforum,  vol.  13,  no.  7,  March 
1975,  pp.  34-35. 

Fredericka  Hunter,  Billy  Al 
Bengston:  Paintings  of  the 
Seventies.  Security  Pacific 
Bank,  Los  Angeles,  1978. 

Ruth  Bass,  "Billy  Al  Bengston," 
Art  News.  vol.  78,  no.  9, 
November  1979,  p.  196. 

JefT  Perrone,  "The  Decorative 
Impulse,"  Artforum,  vol.  18,  no. 
3,  November  1979,  pp.  80-81. 

Susie  Kalil,  "Billy  Al  Bengston: 
Sensuality  and  Structure," 
Art  week,  vol.  10,  no.  43, 
December  1979,  p.  3. 

"Billy  Al  Bengston,"  interview 
by  Susan  C.  Larsen.  Archives 
of  American  Art,  Smithsonian 
Institution,  Washington,  D.C., 
September  1980. 


Wallace  Berman 

Born  on  Staten  Island,  New 
York,  1926;  died  in  Topanga, 
California,  1976. 
Attended  Chouinard  Art 
Institute,  Los  Angeles,  1944; 
Jepson  Art  School,  Los 
Angeles,  1944. 

Selected  One-Man 
Exhibitions 

Ferus  Gallery,  Los  Angeles, 
1957. 

Studio  Exhibition  (Beverly 
Glen),  Los  Angeles,  1965. 

Topanga  Community  House, 
Topanga,  California,  1967 
(one-day  exhibition). 

Los  Angeles  County  Museum 
of  Art,  1968  (traveled  to  The 
Jewish  Mu.seum,  New  York). 

The  Mermaid  Tavern,  Tbpanga, 
California,  1973  (one-day 
exhibition). 

Gemini  G.E.L.,  Los  Angeles, 
1974. 

Timothea  Stewart  Gallery,  Los 
Angeles,  1977. 

Whitney  Museum  of  American 
Art,  New  York,  1978. 

Otis  Art  Institute,  Los  Angeles, 
1978  (retro-spective;  traveled 
to  Fort  Worth  Art  Museum. 
Tfexas;  University  Art  Museum. 
Berkeley.  California;  Seattle  Art 
Museum,  Washington). 

LA.  Louver.  Venice,  Califor- 
nia, 1979. 

Selected  Group  Exhibitions 

Los  Angeles  Now,  Robert 
Eraser  Gallery,  London,  1966. 

Assemblage  in  California, 
University  of  California, 
Irvine,  1968. 

West  Coast  1945-1969, 
Pasadena  Art  Museum, 
California,  1969  (traveled  to 
City  Art  Museum  of  St.  Louis, 
Missouri;  Art  Gallery  of 
Ontario,  Toronto;  Fort  Worth 
Art  Center  Museum, Texas). 

Pop  Art  Redefined,  Hay  ward 
Gallery,  London,  1969. 

Poets  of  the  CilieslNew  York 
and  San  Francisco,  1950-1965. 
Dallas  Museum  of  Fine  Arts, 
Texas,  1974. 

Collage  and  Assemblage,  Los 
Angeles  Institute  of  Contem- 
porary Art,  1975. 

Environment  and  the  New  Art 
1960-1975,  University  of 
California,  DavLs,  1975. 

Art  as  a  Muscular  Principle, 
John  and  Norah  Warbeke  Gal- 
lery, Mount  Holyoke  College, 
South  Hadley,  Massachusetts, 
1975. 


The  Last  Time  I  Saw  Ferus, 
1957-1966,  Newport  Harbor 
Art  Museum,  Newport  Beach, 
California,  1976. 

Painting  and  Sculpture  in 
California:  The  Modern  Era, 
San  Francisco  Museum  of 
Modern  Art,  1976  (traveled  to 
National  Collection  of  Fine 
Arts,  Smith.sonian  Institution, 
Washington,  DC). 

Selected  Bibliography 

John  Coplans,  "Art  Is  Love  Is 
God,"  Artforum,  vol.  2,  no.  9, 
March  1964,  pp.  26-27. 

John  Coplans,  "Circle  of  Styles 
on  the  West  Coast,"  Art  in 
America,  vol.  52,  no.  3.  June 
1964,  p.  36. 

John  Coplans,  "Los  Angeles: 
Object  Lesson,"  Art  News,  vol. 
64,  no.  9,  January  1966,  p.  67. 

Gail  R.  Scott  and  Jack 
Hirschman,  Wallace  Berman, 
Los  Angeles  County  Museum 
of  Art,  1968. 

James  Monte,  "Wallace 
Berman  and  Collage  Verite," 
Wallace  Berman:  Verifax 
Collages,  The  Jewish  Museum, 
New  York,  1968. 

Jane  Livingston.  "Two 
Generations  in  L.A.,"  Art  in 
America,  vol.  57,  no.  1, 
January  1969,  p.  92. 

Merril  Greene,  "Wallace 
Berman,"  Art  as  a  Muscular 
Principle,  John  and  Norah 
Warbeke  Gallery,  Mount 
Holyoke  College,  South 
Hadley,  Ma.ssachusetts,  1975. 

Melinda  Wortz,  "Los  Angeles," 
Art  News,  vol.  76,  no.  9, 
November  1977,  pp.  202,  204. 

George  Herms,  Wallace 
Berman,  Timothea  Stewart 
Gallery,  Los  Angeles,  1977. 

Merril  Greene,  "Wallace 
Berman:  Portrait  of  the  Arti,st 
as  Underground  Man,"  Art- 
forum, vol.  16,  no.  6,  February 
1978,  pp.  .5.3-61. 

Hal  Glicksman,  Robert  Dun- 
can, David  Meltzer,  and  Wal- 
ter Hopps  (interview),  Wallace 
Berman  Retrospective,  Otis  Art 
Institute,  Los  Angeles,  1978. 


Ronald  Davis 

Born  in  Santa  Monica,  Califor- 
nia, 1937;  lives  in  Malibu, 
California. 

Attended  San  Francisco  Art 
Institute,  1960-64. 

Selected  One-Man 
Exhibitions 

Nicholas  Wilder  Gallery,  Los 
Angeles,  1965, 1967, 1969, 

1973,  1977, 1979. 

Tibor  de  Nagy  Gallery,  New 
York,  1966. 

Leo  Castelli  Gallery,  New 
York,  1968, 1969,  1971. 1974, 
1975. 

Kasmin  Gallery,  London,  1968, 
1971. 

Norman  Mackenzie  Art  Gal- 
lery, University  of  Saskatche- 
wan, Regina,  Canada,  1969. 

Joseph  Helman  Gallery,  St. 
Louis,  Missouri,  197L  1972. 

Pasadena  Art  Museum, 
California,  1971. 

David  Mirvish  Gallery, 
Toronto,  1971, 1975. 

Galleria  dell'Ariete,  Milan, 
Italy,  1972. 

John  Berggruen  Gallery,  San 
Francisco,  1973, 1975, 1978, 
1980. 

Gemini  GEL.,  Los  Angeles, 

1974,  1981. 

Western  Galleries,  Cheyenne, 
Wyoming,  1974. 

Boise  State  University.  Idaho, 
1975. 

The  Greenberg  Gallery,  St. 
Louis,  Missouri,  1975, 1979. 

Aspen  Gallery  of  Art,  Colo- 
rado, 1976. 

Seder/Creigh  Gallery, 
Coronado,  California,  1976. 

The  Oakland  Museum, 
California,  1976. 

University  of  Nevada,  Reno. 
1977. 

Seaver  College,  Pepperdine 
University,  Malibu.  California, 
1979. 

Blum-Helman  Gallery,  New 
York,  1979. 

San  Diego  State  University, 
California,  1980. 

Middendorf/Lane  Gallery, 
Washington,  D.C.,  1980. 

Selected  Group  Exhibitions 

Hard-Edge.  Rolf  Nelson 
Gallery,  Los  Angeles,  1964. 

New  Modes  in  California 
Painting  and  Sctilpiure, 
La  Jolla  Museum  of  Art, 
California,  1966. 


Some  Continuing  Directions, 
The  Fine  Arts  Patrons  of 
Newport  Harbor,  Balboa 
Pavilion  Gallery,  California, 
1966. 

A  New  Aesthetic,  Washington 
Gallery  of  Modern  Art. 
Washington,  D.C.,  1967. 

1967  Annual  Exhibition  of 
Contemporary  Painting.  Whit- 
ney Museum  of  American  Art. 
New  York;  7969  Annual 
Exhibition. 

Plastics:  Painting  and 
Sculpture  from  Los  Angeles, 
California  State  College,  Los 
Angeles,  1968. 

Los  Angeles  6,  Vancouver  Art 
Museum,  British  Columbia, 
1968. 

Documenta  4.  Kassel,  West 
Germany,  1968. 

31st  Biennial  Exhibition  of 
Contemporary  American 
Painting.  Corcoran  Gallery  of 
Art,  Washington,  D.C.,  1969; 
34th  Biennial.  1975. 

Plastics:  New  Art.  Institute  of 
Contemporary  Art  of  the 
University  of  Pennsylvania, 
Philadelphia,  1969. 

West  Coast  1945-1969. 
Pasadena  Art  Museum, 
California,  1969  (traveled  to 
City  Art  Museum  of  St.  Louis, 
Missouri;  Art  Gallery  of 
Ontario,  Tbronto;  Fort  Worth 
Art  Center  Museum,  Texas). 

Permutation:  Light  and  Color. 
Museum  of  Contemporary 
Art,  Chicago,  1970. 

69th  American  Exhibition  of 
Painting  and  Sculpture.  The 
Art  Institute  of  Chicago,  1970; 
71.^t  American  Exhibition,  1974. 

Color.  The  UCLA  Art 
Galleries,  University  of  Cali- 
fornia, Los  Angeles,  1970. 

Six  Painters,  Albright-Knox 
Art  Gallery,  Buffalo,  New 
York,  1971. 

USA  West  Coast.  Kunstverein. 
Hamburg,  West  Germany, 
1972  (traveled  to  Kunstverein. 
Hannover;  Kolnischer  Kunst- 
verein, Cologne;  Wiirttem- 
bergisher  Kunstverein, 
Stuttgart). 

Painting:  New  Options, 
Walker  Art  Center, 
Minneapolis,  Minnesota,  1972. 

Masters  of  the  Sixties.  The 
Edmonton  Art  Gallery, 
Alberta,  Canada,  1972. 

Venice  Biennale,  Italy,  1972. 

The  State  of  California  Paint- 
ing, Govett-Brewster  Art 
Gallery,  New  Plymouth,  New 
Zealand,  1972. 

Art  in  Space:  Some  Turning 
Points,  The  Detroit  Institute  of 
Arts,  1973. 


11  Artistes  Americains,  Musee 
d'Art  Contemporain, 
Montreal,  1973. 

15  Abstract  Artists.  The  Santa 
Barbara  Mu.seum  of  Art, 
California,  1974. 

Zeichnungen  3.  USA,  Stad- 
tisches  Museum,  Leverkusen, 
West  Germany,  1975. 

Current  Concerns,  Part  I.  Los 
Angeles  Institute  of  Contem- 
porary Art,  1975. 

Color,  The  Museum  of  Modern 
Art,  New  York,  1975  (traveled 
to  Museo  de  Arte  Moderno, 
Bogota,  Columbia). 

Hon  DavislTom  Holland: 
Works  from  the  Collection  of 
Mr  and  Mrs.  Robert  A.  Rowan. 
Los  Angeles  Municipal  Art 
Gallery.  Barnsdall  Park,  1975. 

Painting  and  Sculpture  in 
California:  The  Modern  Era, 
San  Francisco  Museum  of 
Modern  Art,  1976  (traveled  to 
National  Collection  of  Fine 
Arts,  Smithsonian  Institution, 
Washington,  DC). 

American  Abstract  Art  since 
1945,  The  Solomon  R. 
Guggenheim  Museum,  New 
York,  1977. 

California:  3  by  8  Twice, 
Honolulu  Academy  of  Arts, 
Hawaii,  1978. 

American  Painting  of  the 
1970s.  Albright-Knox  Art  Gal- 
lery, Buffalo,  New  York,  1980. 

Selected  Bibliography 

Knute  Stiles,  "Thing,  Act, 
Place,"  Artforum,  vol.  3,  no.  4, 
January  1965,  pp.  37-40. 

John  Coplans,  "The  New 
Abstraction  on  the  West  Coast 
U.S.A.,"  Studio  International, 
vol.  169,  no.  865,  May  1965, 
pp.  192-99. 

Donald  Factor,  "Ron  Davis: 
Nicholas  Wilder  Gallery  Ex- 
hibition," Artforum,  vol.  4,  no. 
4,  December  1965,  p.  15. 

Barbara  Rose,  "Los  Angeles: 
The  Second  City,"  Art  in 
America,  vol.  54,  no.  1, 
January- February  1966, 
pp.  110-13. 

Lucy  R  Lippard,  "Perverse 
Perspectives,"  Art  Interna- 
tional, vol.  6,  no.  3,  March 
1967,  pp.  28-33. 

Michael  Fried,  "Ronald  Davis: 
Surface  and  Illusion," 
Artforum.  vol.  5,  no.  8,  April 
1967,  pp.  37-41. 

Barbara  Rose,  A  New  Aes- 
thetic. Washington  Gallery  of 
Modern  Art,  Washington, 
DC,  1967. 

Jane  Livingston,  "Ron  Davis," 
Artforum,  vol.  6,  no.  5, 
January  1968,  pp.  60-61. 


Kurt  von  Meier,  "Painting  to 
Sculpture:  One  Tradition  in  a 
Radical  Approach  to  the  His- 
tory of  Twentieth-Century 
Art,"  Art  International,  vol.  12, 
no.  3,  March  1968,  pp.  37-39. 

Annette  Michelson,  "Ron 
Davis:  Leo  Castelli  Gallery 
Exhibition,"  Artforum,  vol.  6, 
no.  10,  summer  1968,  pp.  56-57. 

Robert  Hughes,  "Ron  Davis  at 
Kasmin."  Studio  International, 
vol.  176,  no.  906,  December 
1968,  pp.  264-65. 

John  Coplans  and  Barbara 
Rose,  Los  Angeles  6.  Van- 
couver Art  Gallery,  British 
Columbia,  1968. 

Rosalind  Krauss,  "Leo  Castelli 
Exhibition."  Artforum,  vol.  8, 
no.  4.  December  1969, 
pp.  69-70. 

Terry  Fenton.  Ron  Dauis: 
Eight  Paintings.  Norman 
Mackenzie  Art  Gallery,  Uni- 
veristy  of  Saskatchewan, 
Regina,  Canada,  1969. 

Walter  Darby  Bannard,  "Notes 
on  American  Painting  of  the 
Sixties,"  Artforum.  vol.  8.  no. 
S.January  1970,  pp.  40-45. 

Charles  Kessler,  Color.  The 
UCLA  Art  Galleries,  Univer- 
sity of  California,  Los  Angeles, 
1970. 

John  Elderfield,  "New  Paint- 
ings by  Ron  Davis,"  Artforum, 
vol.  9,  no.  7,  March  1971, 
pp.  32-34. 

Elizabeth  C.  Baker,  "Los 
Angeles,  1971,"  Art  News,  vol. 
70,  no.  5,  September  1971, 
pp.  27-39. 

Helene  Winer,  "How  L.A. 
Looks  Today,"  Studio  Inter- 
national, vol.  183,  no.  937, 
October  1971,  pp.  127-31. 

James  N.  Wood.  Six  Painters, 
Albright-Knox  Art  Gallery, 
Buffalo,  New  York,  1971. 

Helmut  Heissenbiittel  and 
Helene  Winer,  USA  West 
Coast,  Kunstverein,  Hamburg, 
West  Germany,  1972. 

Barbara  Rose,  Ron  Davis, 
Galleria  dell'Ariete,  Milan, 
Italy,  1972. 

Kenworth  Moffett.  "Kenneth 
Noland's  New  Paintings  and 
the  Issue  of  the  Shaped  Can- 
vas," Art  International,  vol.  20, 
nos.  4-5,  April/May  1976, 
pp.  8-15. 

Gordon  Hazlitt,  with  state- 
ment by  Ron  Davis,  "An  In- 
credibly Beautiful  Quandary," 
Art  News.  vol.  75,  no.  5,  May 
1976,  pp.  36-38. 

Fred  Martin,  "Ron  Davis: 
Cycle  of  Work,"  Artweek.  vol. 
7,  no.  26,  July  1976,  p.  1. 


104 


Charles  Kessler,  "Ronald 
Davis,  Paintings,  1962-1976," 
Journal,  Los  Angeles  Institute 
of  Contemporary  Art,  no.  12, 
October- November  1976, 
pp.  20-23. 

Thomas  Albright,  "Ron  Davis, 
Then  and  Now,"  Art  News.  vol. 
75,  no.  9,  November  1976, 
pp.  100-102. 

Nancy  Marnier,  "Ron  Davis: 
Beyond  Flatness,"  Artforum, 
vol.  15,  no.  3,  November  1976, 
pp.  34-37. 

Charles  Kessler,  Ronald  Davis 
Paintings,  1962-1976.  The 
Oakland  Museum,  California, 
1976. 


Richard  Diebenkorn 

Born  in  Portland,  Oregon, 
1922;  moved  to  Los  Angeles, 
1966;  lives  in  Santa  Monica, 
California. 

B.A.,  Stanford  University, 
1949;  M.A.,  University  of  New 
Mexico,  Albuquerque,  1952. 

Selected  One-Man 
Exhibitions 

California  Palace  of  the  Legion 
of  Honor,  San  Francisco, 
1948, 1960. 

Paul  Kantor  Gallery,  Los 
Angeles,  1952, 1954, 1965. 

San  Francisco  Museum  of  Art, 
19.54, 1972. 

Allan  Frumkin  Gallery, 
Chicago,  1954. 

Poindexter  Gallery,  New  York, 
1956, 1958, 1961, 1963, 1965, 
1966, 1968, 1969, 1971. 

Oakland  Art  Museum, 
California,  1956. 

Pasadena  Art  Museum, 
California,  1960. 

The  Phillips  Collection, 
Washington,  DC,  1961 

National  Institute  of  Arts  and 
Letters,  New  York,  1962, 1967. 

M.  H.  de  Young  Memorial 
Museum,  San  Francisco,  1963. 

Stanford  University  Museum 
and  Art  Gallery,  Palo  Alto, 
California,  1964, 1967. 

Waddington  Galleries,  Lon- 
don, 1964,  1967. 

Washington  Gallery  of  Modern 
Art,  Washington,  DC,  1964 

Nelson  Gallery-Atkins 
Museum,  Kansas  City,  Mis- 
souri, 1968. 

Peale  House,  Pennsylvania 
Academy  of  Fine  Arts, 
Philadelphia,  1968. 

Richmond  Art  Center,  Califor- 
nia, 1968. 

Los  Angeles  County  Museum 
of  Art,  1969. 

Irving  Blum  Gallery,  Los 
Angeles,  1971 

Marlborough  Gallery,  New 
York,  1971, 1975. 

Smith  Andersen  Gallery,  Palo 
Alto,  California,  1971. 

Gerard  John  Hayes  Gallery, 
Los  Angeles,  1972. 

Marlborough  Fine  Art,  Lon- 
don, 1973. 

Marlborough  Galerie  AG., 
Zurich,  Switzerland,  1973. 

Mary  Porter  Sesnon  Gallery, 
University  of  California, 
Santa  Cruz,  1974. 

John  Berggruen  Gallery,  San 
Francisco,  1975. 


James  Corcoran  Gallery,  Los 
Angeles,  1975. 

The  Frederick  S.  Wight  Art 
Gallery,  University  of  Califor- 
nia, Los  Angeles,  1976. 

Albright-Knox  Art  Gallery, 
Buffalo.  New  York,  1976  (retro- 
.spective;  traveled  to  Cincinnati 
Art  Mu.seuni,  Ohio;  Corcoran 
Gallery  of  Art,  Washington, 
DC;  Whitney  Museum  of 
American  Art.  New  York; 
Los  Angeles  County  Museum 
of  Art;  The  Oakland  Museum, 
California). 

M.  Knoedler  and  Company, 
New  York,  1977, 1978, 1979, 
1980. 

Selected  Group  Exhibitions 

Younger  American  Painters, 
The  Solomon  R.  Guggenheim 
Museum,  New  York,  1954. 

Three  Young  Americans: 
Gtasco,  McCullough,  Dieben- 
korn, Allen  Memorial  Art 
Museum,  Oberlin  College, 
Ohio,  1955. 

24th  Biennial  Exhibition  of 
Contemporary  A  merican 
Painting,  Corcoran  Gallery  of 
Art,  Washington,  DC,  1955; 
26th  Biennial.  1959;  27th 
Biennial.  1961;  28lh  Biennial, 
1963;  :i:ir(i  Biennial,  1973; 
34th  Biennial.  1915:37th 
Biennial.  1981, 

///  Bienal  de  Sao  Paulo, 
Brazil,  1955;  VI  Bienal.  1961 

79,55  Annual  Exhibition  of 
Contemporary  American 
Painting.  Whitney  Museum  of 
American  Art,  New  York;  1958 
Annual  Exhibition;  1963  An- 
nual Exhibition;  1965  Annual 
Exhibition:  1967  Annual  Ex- 
hibition: 1969  Annual  Exhibi- 
tion: 1972  Annual  Exhibition; 
1981  Biennial  Exhibition. 

62nd  American  Exhibition  of 
Painting  and  Sculpture.  The 
Art  Institute  of  Chicago,  1959; 
70th  American  Exhibition,  1972. 

New  Imagery  in  American 
Painting,  Indiana  University 
Art  Museum,  Bloomington, 
1959 

New  Images  of  Man,  The 
Museum  of  Modern  Art,  New 
York,  1959. 

Aspects  of  Representation  in 
Contemporary  Art.  Nelson 
Gallery-Atkins  Museum, 
Kansas  City,  Missouri,  1959. 

American  Art,  1910-1960: 
Selections  from  the  Collection 
of  Mr  and  Mrs.  Roy  R. 
Neuherger.  M.  Knoedler  and 
Company,  New  York,  1960. 

Elmer  Bischoff,  Richard 
Diebenkorn,  David  Park, 
Staempfli  Gallery,  New  York, 
1960. 


The  Figure  in  Contemporary 
American  Painting,  American 
Federation  of  Arts,  New  York, 
1961. 

The  Artist's  Environment: 
West  Coast.  Amon  Carter 
Museum  of  Western  Art,  Fort 
Worth, Texas,  1962  (traveled  to 
The  UCLA  Art  Galleries, 
University  of  California,  Los 
Angeles). 

Six  Americans,  Arkansas  Arts 
Center,  Little  Rock,  1964. 

American  Drawings.  The  Solo- 
mon R.  Guggenheim  Museum, 
New  York.  1964. 

Seven  California  Painters, 
Staempfli  Gallery,  New  York, 
1964. 

Painting  and  Sculpture  of  a 
Decade.  The  Tate  Gallery, 
London,  1964. 

Two  American  Painters, 
Abstract  and  Figurative:  .Sam 
Francis,  Richard  Diebenkorn, 
Scottish  National  Gallery  of 
Modern  Art,  Edinburgh,  1965. 

Selections  from  the  Work  of 
California  Artists,  Witte 
Memorial  Museum.  San 
Antonio,  Texas,  1965. 

Art  of  the  United  Stales 
1670-1960.  Whitney  Mu.seum 
of  American  Art,  New  York, 
1966. 

Late  Fifties  at  the  Ferus,  Los 
Angeles  County  Mu.seum  of 
Art,  1968. 

Painting  as  Painting,  Univer- 
sity Art  Museum,  Austin, 
Texas,  1968. 

Venice  Biennale,  Italy,  1968; 
Venice  Biennale,  1978. 

West  Coast  1945-1969, 
Pasadena  Art  Museum, 
California,  1969  (traveled  to 
City  Art  Museum  of  St.  Louis, 
Missouri;  Art  Gallery  of 
Ontario.  Toronto;  Fort  Worth 
Art  Center  Museum,  Texas). 

Kompas  4:  West  Coast  USA, 
Stedelijk  van  Abbemuseum, 
Eindhoven,  The  Netherlands, 
1969. 

LArt  Vivant  aux  ^tats-Unis, 
Fondation  Maeght,  St.  Paul 
de  Vence,  France,  1970. 

Looking  West  1970,  Joslyn  Art 
Mu.seum,  Omaha,  Nebraska, 
1970. 

Made  in  California,  Grunwald 
Center  for  the  Graphic  Arts, 
University  of  California,  Los 
Angeles,  1971. 

//  Los  Angeles  Artists.  Hay- 
ward  Gallery.  London,  1971 
(traveled  to  Musees  Royaux 
des  Beaux-Arts,  Brussels; 
Akademie  der  Ktinste,  Berlin, 
West  Germanv). 


Tu>o  Directions  in  American 
Painting.  Purdue  University, 
Lafayette,  Indiana,  1971 

A  Decade  m  the  Went.  Stanford 
University  Museum  and  Art 
Gallery,  Palo  Alto,  California, 
1971. 

Abstract  Painting  in  the  '70s: 
A  Selection.  Museum  of  Fine 
Arts,  Boston,  1972. 

15  Abstract  Artists,  The  Santa 
Barbara  Museum  of  Art, 
California,  1974, 

Tivelve  American  Painters, 
Virginia  Museum  of  Fine 
Arts,  Richmond,  1974. 

The  Martha  Jackson  Collec- 
tion at  the  Albright-Knox  Art 
Gallery,  Buffalo,  New  York, 
1975. 

California  Landscape:  A 
Metaview.  The  Oakland 
Museum,  California,  1975. 

Painting  and  Sculpture  in 
California:  The  Modern  Era, 
San  Francisco  Museum  of 
Modern  Art.  1976  (traveled  to 
National  Collection  of  Fine 
Arts,  Smithsonian  Institution, 
Washington,  DC). 

Three  Generations  of  Ameri- 
can Painting:  Motherwell. 
Diebenkorn.  Edlich.  Gruene- 
baum  Gallery,  New  York,  1976. 

American  Paintings  of  the 
1970s.  Albright-Knox  Art  Gal- 
lery, Buffalo,  New  York,  1978 

Selected  Bibliography 

Peter  Selz,  New  Images  of 
Man,  The  Museum  of  Modern 
Art,  New  York,  1959 

Thomas  W.  Leavitt,  Richard 
Diebenkorn,  Pasadena  Art 
Museum,  California,  1960. 

Howard  Ross  Smith,  Recent 
Paintings  by  Richard  Dieben- 
korn. California  Palace  of 
the  Legion  of  Honor,  San 
Francisco,  1960. 

Gifford  Phillips,  Richard 
Diebenkorn.  The  Phillips 
Collection,  Washington, 
DC,  1961. 

Lawrence  Alloway,  Seven 
California  Painters.  Staempfli 
Gallery,  New  York,  1964. 

Gerald  Nordland,  Richard 
Diebenkorn,  Washington 
Gallery  of  Modern  Art, 
Washington,  D.C.,  1964. 

Lorenz  Eitner,  Drawings  by 
Richard  Diebenkorn.  Palo  Alto, 
California,  1965. 

Norman  A.  Geske,  The  Figu- 
rative Tradition  in  Recent 
Amencan  Aw,  Venice  Biennale, 
Italy,  1968. 

Donald  Goodall,  Painting  as 
Painting.  University  Art 
Museum,  Austin,  Texas,  1968. 


Gail  Scott,  New  Paintings  of 
Richard  Diebenkorn.  Los 
Angeles  County  Museum  of 
Art,  1969. 

Gerald  Nordland,  The  Ocean 
Park  Series:  Recent  Work. 
Marlborough  Gallery,  New 
York,  1971. 

Maurice  Tuchman  and  Jane 
Livingston,  11  Los  Angeles 
Artists.  Hayward  Gallery, 
London,  1971. 

Kenworth  Moffett,  A  6s/rac( 
Painting  in  the  '70s:  A  Selec- 
tion, Museum  of  Fine  Arts, 
Boston,  1972. 

John  Russell,  Richard  Dieben- 
korn, The  Ocean  Park  Series: 
Recent  Work.  Marlborough 
Fine  Art,  London,  197.3. 

Philip  Brookman  and  Walker 
Melion,  Richard  Diebenkorn: 
Drawings,  1944-1973,  Mary 
Porter  Sesnon  Gallery, 
University  of  California,  Santa 
Cruz,  1974. 

Linda  L.  Cathcart,  The 
Martha  Jackson  Collection  at 
the  Albright-Knox  Art  Gallery, 
Buffalo,  New  York,  1975. 

Robert  T.  Buck,  Jr.,  Linda  L. 
Cathcart,  Gerald  Nordland, 
and  Maurice  Tuchman,  Richard 
Diebenkorn:  Paintings  and 
Drawings,  1943-1976, 
Albright-Knox  Art  Gallery, 
Buffalo,  New  York,  1976. 

Jeffrey  Hoffeld,  Three  Genera- 
tions of  American  Painting: 
Motherwell.  Diebenkorn. 
Edlich.  Gruenebaum  Gallery, 
New  York,  1976. 

Gerald  Nordland,  Richard 
Diebenkorn:  Monotypes,  The 
Frederick  S.  Wight  Art 
Gallery,  University  of  Cali- 
fornia, Los  Angeles,  1976. 

Budd  Hopkins,  "Diebenkorn 

Reconsidered,"  Artforum, 
vol.  15,  no.  7,  March  1977, 
pp.  37-41. 

Nancy  Marmer,  "Richard  Die- 
benkorn: Pacific  Extensions," 
Art  in  America,  vol.  66,  no.  1, 
January- February  1978, 
pp.  95-99. 

Robert  T.  Buck,  "Richard 
Diebenkorn:  The  Ocean  Park 
Paintings,"  Art  International, 
vol.  22,  nos.  5-6,  summer  1978, 
pp.  29-34.60. 

Tom  E.  Hinson,  "Recent  Paint- 
ings by  Richard  Diebenkorn 
and  Jack  Tworkov,"  The  Bulle- 
tin of  the  Cleveland  Museum 
of  Art,  vol.  48,  no.  2,  February 
1980,  pp.  31-40. 


Sam  Francis 

Born  in  San  Mateo,  California, 

1923;  lives  in  Santa  Monica, 

California. 

B.A.,  University  of  California, 

Berkeley,  1949;  M.A.,  1950. 

Selected  One-Man 
Exhibitions 

Galerie  du  Dragon,  Paris,  1952. 

Galerie  Rive  Droite,  Paris, 
1955, 1956. 

Martha  Jackson  Gallery,  New 
York,  1956, 1957, 1958, 1959, 
1963, 1964, 1968, 1970. 

Gimpel  Fils,  London,  1957, 
1974. 

Kornfeld  und  Klipstein,  Bern, 
Switzerland,  1957,  1959, 1961, 
1963, 1965, 1966, 1968, 1973, 
1975, 1976. 

Galerie  Alfred  Schmela, 
Dtisseldorf,  West  Germany, 
1958, 1961. 

Pasadena  Art  Museum,  Califor- 
nia, 1959  (traveled  to  San  Fran- 
cisco Museum  of  Art;  Seattle 
Art  Museum,  Washington). 

Kunsthalle  Bern,  Switzerland, 
1960  (traveled  to  Moderna 
Museet,  Stockholm). 

Galerie  Jacques  Dubourg, 
Paris,  1961. 

Galerie  de  Seine,  Paris,  1961 

Minami  Gallery,  Tokyo,  1961, 
1964, 1966,  1968, 1970, 1974, 
1977, 1979. 

David  Anderson  Gallery,  New 
York,  1960, 1961. 

Esther  Bear  Gallery,  Santa 
Barbara,  California,  1962. 

Kestner-Gesellschaft,  Han- 
nover, West  Germany  1963. 

Arthur  Tooth  &  Sons,  London, 
1965. 

Auslander  Gallery,  New  York, 
1965. 

Museum  of  Fine  Arts,  Hous- 
ton, 1967  (traveled  to  Univer- 
sity Art  Museum,  University 
of  California,  Berkeley). 

Pierre  Matisse  Gallery,  New 
York,  1967. 

The  UCLA  Art  Galleries,  Los 
Angeles,  1967. 

Kunsthalle  Basel,  Switzer- 
land, 1968. 

Stedelijk  Museum,  Amster- 
dam, 1968. 

Centre  National  d'Art  Con- 
temporain,  Paris,  1968. 

Badischer  Kunstverein, 
Karlsruhe,  West  Germany, 
1968. 

Andre  Emmerich  Gallery, 
New  York,  1969, 1971, 1973, 
1975, 1976, 1979. 


Felix  Landau  Gallery,  Los 
Angeles,  1969. 

Los  Angeles  County  Museum 
of  Art,  1970, 1980. 

Nicholas  Wilder  Gallery,  Los 
Angeles,  1970, 1973, 1975, 
1978. 

Stanford  University  Museum 
and  Art  Gallery,  Palo  Alto, 
California,  1972, 

Albright-Knox  Art  Gallery, 
Buffalo,  New  York,  1972  (retro- 
spective; traveled  to  Corcoran 
Gallery  of  Art,  Washington, 
D.C.;  Whitney  Museum  of 
American  Art,  New  York; 
Dallas  Museum  of  Fine  Arts, 
Texas;  The  Oakland  Museum, 
California). 

Smith  Andersen  Gallery,  Palo 
Alto,  California,  1972, 1973, 
1975, 1978, 1980. 

Galerie  Jean  Fournier,  Paris, 
1973, 1975, 1976, 1979. 

Idemitsu  Art  Gallery,  Tokyo, 
1974. 

Nantenshi  Gallery,  Osaka, 
1974. 

Margo  Leavin  Gallery,  Los 
Angeles,  1974. 

Portland  Center  for  the  Visual 
Arts,  Oregon,  1974. 

Fundacion  Eugenio  Mendoza, 
Caracas,  Venezuela,  1974. 

Robert  Elkon  Gallery,  New 
York,  1974. 

Louisiana  Museum,  Humle- 
baek,  Denmark,  1977. 

Honolulu  Academy  of  Arts, 
Hawaii,  1977. 

Centre  National  d'Art  et  de 
Culture  Georges  Pompidou, 
Paris,  1978. 

Otis  Art  Institute,  Los 
Angeles,  1978. 

Institute  of  Contemporary  Art, 
Boston,  1979  (retrospective). 

Cantor/Lemberg  Gallery, 
Birmingham,  Michigan,  1979. 

Abbaye  de  Senanque,  Lourdes, 
France,  1980. 

James  Corcoran  Gallery,  Los 
Angeles,  1980. 

Riko  Mizuno  Gallery,  Los 
Angeles,  1980. 

Ace  Gallery,  Venice,  Califor- 
nia, 1981. 

Selected  Group  Exhibitions 

66th  Annual  Exhibition  of  the 
San  Francisco  Art  Association, 
Museum  of  Fine  Arts,  San 
Francisco,  1946. 

'VI'  Salon  de  Mai,  Musee  d'Art 
Moderne  de  la  Ville  de  Paris, 
1950;  XVII'- Salon  de  Mai,  1961. 

Opposing  Forces,  Institute 
of  Contemporary  Arts, 
London,  1953. 


106 


American  Painting,  The  Art 
Institute  of  Chicago,  1954. 

Tendances  actuelles  3,  Kunst- 
halle  Bern,  Switzerland,  1955. 

Art  in  the  20th  Century,  San 
Francisco  Museum  of  Art, 
1955. 

12  Americans,  The  Museum  of 
Modern  Art,  New  York,  1956 

Expresaionism  1900-1955. 
Walker  Art  Center,  Minneapolis, 
Minnesota,  1956. 

New  Trends  in  Painting,  Arts 
Council  of  Great  Britain, 
Cambridge,  1956  (traveled  to 
City  Art  Gallery,  York;  Walker 
Art  Gallery,  Liverpool;  Hatton 
Gallery,  Newcastle). 

50  Ans  d'Art  Moderne,  Musees 
Royaux  des  Beaux- Arts, 
Brussels,  1957. 

Sam  Francis,  Kimber  Smith, 
and  Shirley  Jaffe,  Centre  Cul- 
tural Americain,  Paris,  1958. 

Jong  Amerika  Schildert, 
Stedelijk  Museum,  Amster- 
dam, 1958. 

The  New  American  Painting, 
The  Museum  of  Modern  Art, 
New  York,  1958-59  (traveled 
to  Kunsthalle,  Basel,  Switzer- 
land; Galleria  Civica  d'Arte 
Modema,  Milan,  Italy; 
Museo  Nacional  de  Arte  Con- 
temporanea,  Madrid;  Hoch- 
schule  fiir  bildende  Kiinste, 
Berlin,  West  Germany;  Stedelijk 
Museum,  Amsterdam;  Musees 
Royaux  des  Beaux-Arts, 
Brussels;  Musee  d'Art  Moderne 
dela  Villede  Paris;  The 
T^te  Gallery,  London). 

Documenta  2,  Kassel,  West 
Germany,  1959;  Documenta  3. 
1964. 

Annual  Exhibition  of  Contem- 
porary American  Painting. 
Whitney  Museum  of  American 
Art,  New  York.  1959, 1961, 
1962, 1963, 1964. 

60  American  Painters  1960. 
Walker  Art  Center,  Minneapolis, 
Minnesota,  1960. 

Images  at  Mid-Century,  Uni- 
versity of  Michigan  Museum 
of  Art,  Ann  Arbor,  1960. 

64th  American  Exhibition  of 
Painting  and  Sculpture, 
The  Art  Institute  of  Chicago, 
1961;  65th  American  Exhibi- 
tion, 1962. 

American  Abstract  Expression- 
ists and  Imagists,  The  Solomon 
R.  Guggenheim  Museum, 
New  York,  1961. 

The  Logic  of  Modern  Art, 
William  Rockhill  Nelson  Gal- 
lery of  Art,  Kansas  City, 
Missouri,  1961. 

Kompas,  Schilders  uit  Parijis 
1945-1961,  Stedelijk  van 
Abbemuseum,  Eindhoven, 
The  Netherlands,  1961-62. 


Abstrahle  Amerikanische 
Malerei,  Hessisehes  Lands- 
museum,  Darmstadt,  West 
Germany,  1962. 

Kunst  des  20  Jahrhunderts: 
Developments  in  Painting  V. 
Haus  der  Stadt,  Kunst.samm- 
lung,  Fionn,  West  Germany,  1962. 

Kunst  von  1900  bis  heute. 
Museum  des  20  Jahrhunderts, 
Vienna,  1962. 

Realites  Nouvelles,  Musee 
d'Art  Moderne  de  la  Ville  de 
Paris,  196.3 

Gesammell  im  Ruhrgebiet, 
Kunsthalle  Recklinghausen, 
West  Germany,  1963. 

Private  Views,  The  Tate  Gal- 
lery, London,  1963. 

Painting  and  Sculpture  of  a 
Decade  19.54-1964,  The  Tate 
Gallery,  London,  1964. 

Post  Painterly  Abstraction,  Los 
Angeles  County  Museum  of 
Art,  1964. 

International  Painting  since 
1950.  Kunsthalle  Basel, 
Switzerland,  1964. 

American  Drawings,  The 
Solomon  R.  Guggenheim 
Museum,  New  York,  1964. 

Venice  Biennale.  Italy,  1964. 

Two  American  Painters. 
Abstract  and  Figurative:  Sam 
Francis.  Richard  Diebenkorn, 
Scottish  National  Gallery  of 
Modern  Art,  Edinburgh,  1965. 

Seven  Americans,  Arkansas 
Arts  Center,  Little  Rock,  1965. 

Inner  and  Outer  Space, 
Moderna  Museet,  Stockholm, 
1965. 

Two  Decades  of  American 
Painting,  The  Museum  of 
Modern  Art,  New  York,  1966. 

Contemporary  Painters  and 
Sculptors  as  Printmakers,  The 
Museum  of  Modern  Art,  New 
York,  1966. 

Licht  Bewegung  Farbe,  Kunst- 
halle Niirnberg,  West  Germany, 
1967. 

Vom  Bauhaus  bis  zur  Gegen- 
wart,  Kunstverein,  Hamburg, 
West  Germany,  1967  (traveled 
to  Frankfurter  Kunstverein, 
Frankfurt;  Kblnischer 
Kunstverein,  Cologne). 

Neuerwerbungen  1962-1967, 
Stadtische  Kunstmu.seum, 
Bonn,  West  Germany,  1967. 

Kleine  Dokumenta  (Kunst 
nach  1950),  Overbeck-Gesell- 
schaft,  Liibeck,  West  Germany, 
1968. 

West  Coast  1945-1969. 
Pasadena  Art  Museum, 
California,  1969  (traveled  to 
City  Art  Mu.seum  of  St.  Louis. 
Missouri;  Art  Gallery  of 
Ontario,  Toronto;  Fort  Worth 
Art  Center  Museum, Texas). 


Color  and  Field,  Albright- 
Knox  Art  Gallery,  Buffalo, 
New  York,  1970  (traveled 
to  Dayton  Art  Institute, 
Ohio;  Cleveland  Museum  of 
Art,  Ohio). 

Francis,  Kanemitsu,  Moses, 
Wayne,  Downey  Museum  of 
Art,  California,  1970. 

32nd  Biennial  Exhibition  of 
Contemporary  A  merican 
Painting.  Corcoran  Gallery  of 
Art,  Washington,  D.C  ,  19'71. 

Abstract  Expressionism:  The 
First  and  Second  Generations 
in  the  Albright-Knox  Art  Gal- 
lery, Buffalo,  New  York,  1972. 

Fresh  Air  School:  Sam  Francis, 
Joan  Mitchell,  and  Walasse 
Ting,  Mu.seum  of  Art,  Carnegie 
Institute,  Pittsburgh,  Penn- 
sylvania, 1972. 

Tivelve  American  Painters, 
Virginia  Museum,  Richmond, 
1974. 

15  Abstract  Artists,  Santa 
Barbara  Museum  of  Art, 
California,  1974. 

Painting  and  Sculpture  in 
California:  The  Modern  Era, 
San  Francisco  Museum  of 
Modern  Art,  California,  1976 
(traveled  to  National  Collec- 
tion of  Fine  Arts,  Smithsonian 
Institution,  Washington,  D.C). 

Paris-New  York.  Centre  Na- 
tional d'Art  et  de  Culture 
Georges  Pompidou,  Paris,  1977. 

Selected  Bibliography 

Herbert  Read,  "An  Art  of 
Internal  Necessity,"  Quadrum, 
no.  l,May  1956,  pp.  7-22. 

K.  G  Pontus  Hulten,  Brion 
Gysiu,  Sinclair  Belles,  and 
Yoshiaki  Tono,  Sam  Francis, 
Moderna  Museet,  Stockholm, 
1960. 

Franz  Meyer,  Sam  Francis. 
Kunsthalle  Bern,  Switzerland, 
1960. 

Franz  Meyer,  "Sam  Francis," 
Quadrum,  no.  10, 1961, 
pp.  119-30. 

Makoto  Ooka,  Yoshiaki  Tono, 
and  Shuzo  Takiguchi,  Sam 
Francis:  Blue  Balls,  Minami 
Gallery,  Tokyo,  1961. 

Priscilla  Coll,  "The  Painting 
of  Sam  Francis,"  The  Art  Jour- 
nal, vol.  22,  no.  1,  fall  1962, 
pp.  2-7. 

Manuel  Gasser,  "Sam  Francis/ 
Lithographs  by  an  Action 
Painter,"  Graphis,  vol.  18,  no. 
104,  November- December 
1962.  pp.  570-73. 

Yoshiaki  Tono,  Sam  Francis, 
Tokyo,  1964. 

Annelie.se  Hoyer,  .Sam  Francis 
Drawings  and  Lithographs, 
San  Francisco  Museum  of  Art, 
1966. 


James  Johnson  Sweeney,  Sam 
Francis,  Museum  of  Fine  Arts, 
Houston,  Texas;  University 
Art  Museum,  University  of 
California,  Berkeley,  1966. 
Wieland  Schmied,  Sam  Fran- 
cis, and  Arnold  Rudlinger. 
Sam  Francis,  Kunsthalle 
Ba.sel,  Switzerland,  1968. 

J.J.  Leveque,  "Sam  Francis, 
The  Spirit  of  Vertigo,"  Cimaise, 
vol.  16,  no.  90, 1969,  pp.  49-61. 

Pierre  Schneider,  Philipe 
Hosaisson,  Georges  Duthuit, 
Herbert  Read,  Franz  Meyer, 
and  James  Johnson  .Sweeney, 
Sam  Francis,  Centre  National 
d'Art  Contemporain,  Paris, 
1969. 

Gail  Scott,  Sam  Francis: 
Recent  Paintings,  Los  Angeles 
County  Museum  of  Art,  1970. 

Pierre  Schneider,  Louvre 
Dialogues,  New  York,  1971. 

Robert  T.  Buck,  Jr,  Franz 
Meyer,  Wieland  Schmied,  and 
Katherine  Kline, .Som  Francis, 
Albrigbt-Knox  Art  Gallery, 
Buffalo,  New  York,  1972. 

Peter  Selz,  "Sam  Francis:  The 
Recent  Work."  Art  Interna- 
tional, vol.  17,  no.  1,  January 
1973,  pp.  14-17. 

Carl  Betz,  "Fitting  .Sam 
Francis  into  History,"  Art  in 
America,  vol.  61,  no.  1,  January- 
February  1973,  pp.  40-45. 

Lawrence  AUoway,  "Sam 
Francis:  From  Field  to  Ara- 
besque, "A /■//orHm,  vol.  11,  no.  6, 
February  1973,  pp.  37-41. 

Shuzo  Takiguchi,  Makoto  Ooka, 
and  Yoshiaki  Tono,  Paintings 
of  .Sam  Francis  in  the  Idemitsu 
Collection,  Minami  Gallery, 
Tokyo,  1974. 

Peter  Selz,  Sam  Francis,  New 
York,  1975. 

Sara  Giesen,  "Sam  Francis: 
His  Kaleidoscopic  Unfolding," 
Arts  Magazine,  vol.  50.  no.  10, 
June  1976,  pp.  66-69. 

Alfred  Pacquement,  Sam 
Francis:  Peintures  Recentes 
197611978,  Centre  National 
d'Art  el  de  Culture  Georges 
Pompidou,  Paris,  1978. 

Jan  Butterfield,  Sam  Francis: 
Works  on  Paper,  A  Survey. 
1948-1979.  Institute  of  Con- 
temporary Art,  Boston,  1979. 

Jan  Butterfield,  "Time  Has  an 
Infinite  Number  of  Faces," 
Sam  Francis.  Los  Angeles 
County  Museum  of  Art,  1980. 


Joe  Goode 

Born  in  Oklahoma  City,  Okla- 
homa, 1937;  resident  of  Los 
Angeles,  1959-78;  lives  in 
Springville,  California. 
Attended  Chouinard  Art  Insti- 
tute, Los  Angeles,  1959-61. 

Selected  One-Man 
Exhibitions 

Dilexi  Gallery,  Los  Angeles, 
1962. 

Rolf  Nelson  Gallery,  Los 
Angeles,  1963. 

Nicholas  Wilder  Gallery,  Los 
Angeles,  1966, 1969, 1970, 
1972, 1974, 1975, 1978, 1979. 

Rowan  Gallery,  London,  1967 

Kornblee  Gallery,  New  York, 
1968. 

Galerie  Neuendorf,  Cologne, 
West  Germany,  1970, 1972. 

Galerie  Neuendorf,  Hamburg, 
West  Germany,  1970, 1973, 
1975. 

Pomona  College  Art  Gallery, 
California,  1971. 

Galleria  Milano,  Italy,  1971. 

La  JoUa  Museum  of  Contem- 
porary Art,  California,  1971. 

Mueller  Gallery,  Dusseldorf, 
West  Germany,  1971. 

Minneapolis  Institute  of  Art, 
Minnesota,  1972. 

Corcoran  and  Corcoran  Gal- 
lery, Miami,  Florida,  1972. 

Margo  Leavin  Gallery,  Los 
Angeles,  1972, 1973. 

Felicity  Samuel  Gallery, 
London,  1972, 1973, 1975. 

Contract  Graphics,  Houston, 
Texas,  1972, 1973, 1975. 

Fort  Worth  Art  Center 
Museum,  Texas,  1972. 

Contemporary  Arts  Museum, 
Houston,  Texas,  1973. 

Cirrus  Gallery,  Los  Angeles, 
1973, 1974. 

California  State  College, 
Northridge,  1974. 

Seder/Creigh  Gallery, 
Coronado,  California,  1975. 

James  Corcoran  Gallery,  Los 
Angeles,  1976. 

Washington  University,  St. 
Louis,  Missouri,  1976. 

Mount  St.  Mary's  College  Art 
Gallery,  Los  Angeles,  1977. 

Texas  Gallery,  Houston,  1979 

Charles  Cowles  Gallery,  New 
York,  1980. 


Selected  Group  Exhibitions 

War  Bcihies,  Huysman  Gallery, 
Los  Angeles,  1961. 

New  Painting  of  Common 
Objects.  Pasadena  Art  Museum, 
California,  1962. 

Pop  An  USA,  Oakland  Art 
Mu.seum,  California,  1963. 

Six  More,  Los  Angeles  County 
Museum  of  Art,  1963. 

Ten  from  Los  Angeles,  Seattle 
Art  Museum,  Washington, 
1966. 

1966  Annual  Exhibition  of 
Contemporary  American 
Painting,  Whitney  Museum  of 
American  Art,  New  York; 

1967  Annual  Exhibition:  1969 
Annual  Exhibition. 

Pittsburgh  International 
Exhibition.  Carnegie  Institute, 
Pennsylvania,  1967. 

West  Coast  Now,  Portland  Art 
Museum,  Oregon,  1968. 

Ed  Ruscha-Joe  Goode.  The 
Fine  Arts  Patrons  of  Newport 
Harbor,  Balboa  Pavilion 
Gallery,  California,  1968. 

Contemporary  American 
Drawings,  Fort  Worth  Art 
Center  Museum,  Texas,  1969. 

Pop  Art  Redefined.  Hayward 
Gallery,  London,  1969. 

California  Drawings,  Ithaca 
College  Art  Museum,  New 
York,  1969. 

Graphics:  Six  West  Coast 
Artists,  Galleria  Milano, 
Italy,  1969. 

West  Coast  1945-1969. 
Pasadena  Art  Museum, 
California,  1969  (traveled  to 
City  Art  Museum  of  St.  Louis, 
Missouri;  Art  Gallery  of 
Ontario,  Tbronto;  Fort  Worth 
Art  Center  Museum,  Texas). 

Drawings.  The  Santa  Barbara 
Museum  of  Art,  California, 
1970. 

Nine  Portfolios.  The  Museum 
of  Modern  Art,  New  York,  1970. 

Looking  West  1970,  Joslyn  Art 
Museum,  Omaha,  Nebraska, 
1970. 

Continuing  Surrealism,  La 
Jolla  Museum  of  Contempo- 
rary Art,  California,  1971. 

West  Coast,  The  Denver  Art 
Museum,  Colorado,  1971. 

Oversize  Prints,  Whitney 
Museum  of  American  Art, 
New  York,  1971. 

Made  in  California,  Grunwald 
Center  for  the  Graphic  Arts, 
University  of  California,  Los 
Angeles,  1971. 

32nd  Biennial  Exhibition  of 
Contemporary  American 
Paintings,  Corcoran  Gallery  of 
Art,  Washington,  DC,  1971. 


American  Pop  Art,  Whitney 
Museum  of  American  Art, 
New  York,  1974. 

Eight  from  California,  Na- 
tional Collection  of  Fine  Arts, 
Smith-sonian  Institution, 
Washington,  DC,  1974. 

Robert  Rowan  Collection, 
Mount  St.  Mary's  College  Art 
Gallery,  Los  Angeles,  1974. 

4  Los  Angeles  Artists,  School 
of  Visual  Arts,  New  York,  1975. 

Current  Concerns:  Part  I,  Los 
Angeles  Institute  of  Contem- 
porary Art,  1975. 

Painting  and  Sculpture  in 
California:  The  Modern  Era. 
San  Francisco  Museum  of 
Modern  Art,  1976  (traveled  to 
National  Collection  of  Fine 
Arts,  Smithsonian  Institution, 
Washington,  D.C.). 

Ed  Ruscha,  Joe  GoodelNew 
Drawings,  Laguna  Gloria  Art 
Museum,  Austin,  Texas,  1977. 

Black  and  White  Are  Colors: 
Paintings  of  the  1950s-1970s, 
Lang  Art  Gallery,  Scripps 
College,  Claremont,  California, 
1978. 

American  Painting  in  the 
Seventies.  Albright-Knox  Art 
Gallery.  Buffalo,  New  York, 
1978. 

Aspects  of  Abstract.  Crocker 
Art  Museum,  Sacramento, 
California,  1978. 

Selected  Bibliography 

John  Coplans,  "New  Painting 
of  Common  Objects,"  Artforum, 
vol.  1,  no.  6,  November  1962, 
pp.  26-29. 

Lawrence  Alloway,  Six  More, 
Los  Angeles  County  Museum 
of  Art,  1963. 

Claire  Wolf,  "Los  Angeles:  Joe 
Goode,  Rolf  Nelson  Gallery," 
Artforum.  vol.  2,  no.  11,  May 
1964,  pp.  11-12. 

Philip  Leider,  "The  Cool 
School,"  Artforum.  vol.  2,  no.  12, 
summer  1964,  pp.  47-52. 

Philip  Leider,  "Joe  Goode  and 
the  Common  Object,"  Artforum, 
vol.  4,  no.  7,  March  1966, 
pp.  24-27. 

Fidel  Danieli,  "Gemini  Ltd.: 
New  Lithography  Workshop  in 
Los  Angeles,"  Artforum,  vol.  4, 
no.  8,  April  1966,  pp.  20-22. 

John  Coplans,  "Exhibition  at 
Nick  Wilder  Gallery,"  Ar/ 
News,  vol.  65,  no.  57,  summer 
1966,  p.  57. 

John  Coplans,  Ten  from  Los 
Angeles.  Seattle  Art  Museum, 
Washington,  1966. 

Lucy  R.  Lippard,  Pop  Art,  New 
York,  1966. 


Edward  Lucie-Smith,  "London: 
Show  at  Rowan  Gallery," 
Studio  International,  vol.  173, 
no.  890,  June  1967,  p.  312. 

Jane  Livingston,  "Los 
Angeles."  Artforum,  vol.  6, 
no.  3,  November  1967,  p.  67. 

Robert  Pincus-Witten, 
"Kornblee  Gallery,  New  York," 
Artforum,  vol.  6,  no.  7,  March 
1968,  p.  59. 

William  Wilson,  "Four  Defec- 
tors to  L.A.,"  Art  in  America, 
vol.56,  no.  2,  March  1968, 
pp.  100-104. 

Melinda  Terbell,  "West  Coast 
Shows,"  Arts  Magazine,  vol.  42, 
no.  7,  May  1968,  p.  61. 

Henry  T  Hopkins,  Joe  Goode 
and  Ed  Ruscha.  The  Fine  Arts 
Patrons  of  Newport  Harbor, 
Balboa  Pavilion  Gallery, 
California,  1968. 

Jane  Livingston,  "Los 
Angeles,"  Artforum,  vol.  7, 
no.  5,  January  1969,  p.  69. 

Andrew  Rabeneck,  "Form  Fol- 
lows Fiction,"  Design  Quarterly, 
no.  73, 1969,  p.  31. 

John  Russell  and  Suzi  Gablik, 
Pop  Art  Redefined,  London, 
1969. 

Peter  Plagens,  "Los  Angeles; 
Joe  Goode,  Nicholas  Wilder 
Gallery,"  Artforum,  vol.  9,  no. 
6,  February  1971,  p.  91. 

Melinda  Terbell,  "Los  Angeles," 
Arts  Magazine,  vol.  45,  no.  4, 
February  1971,  p.  45. 

Helene  Winer,  Wall  Reliefs, 
Pomona  College  Art  Gallery, 
California,  1971. 

Bernard  Denvir,  "London  Let- 
ter," Art  International,  vol.  16, 
no.  8,  October  1972,  p.  46. 

Peter  Fuller,  "Joe  Goode,"  Arts 
Review,  vol.  24,  no.  20,  October 
1972,  p.  612. 

Henry  T.  Hopkins,  Joe  Goode: 
Work  Until  Now,  Fort  Worth 
Art  Center  Museum,  Texas, 
1972. 

William  A.  Robinson,  Perry 
Walker,  and  Henry  T.  Hopkins, 
"Bengston,  Grieger,  Goode: 
Three  Interviews,"  Art  in 
America,  vol.  61,  no.  2,  March- 
April  1973,  pp.  48-53. 

Nancy  Marmer,  "Joe  Goode," 
Art  in  America,  vol.  62,  no.  4, 
July- August  1974,  p.  96. 

Lawrence  Alloway,  Amen'co;i 
Pop  Art,  Whitney  Museum  of 
American  Art,  New  York,  1974. 

Peter  Plagens,  Sunshine  Muse: 
Contemporary  Art  on  the 
West  Coast,  New  York,  1974. 

M.  Shepherd,  "Joe  Goode," 
Arts  Review,  vol.  27,  no.  15, 
July  1975,  p.  424. 


108 


Peter  Winter,  "Joe  Goode," 
Kunstwerk,  vol.  28,  no.  4,  July 
1975,  p.  72. 

Michele  D.  De  Angelus,  "Iso- 
lated Imagery:  Joe  Goode,"  Los 
Angeles  Institute  of  Contem- 
porary Art  Journal,  no.  20, 
October  1978,  pp.  34-35. 

Ann  Schoenfeld,  "Paintings 
under  Control:  Joe  Goode," 
Artweek,  vol.  10,  no.  20,  May 
19, 1979.  p.  7. 

M.  Shepherd,  "American 
Painting  in  the  1970's,"  Arts 
Review,  vol.  31,  no.  15,  August 
1979,  p.  399. 


David  Hockney 

Born  in  Bradford,  England, 
1937;  currently  lives  in  Los 
Angeles  and  London. 
Attended  Bradford  College  of 
Art,  195.3-57;  The  Royal  Col- 
lege of  Art,  London,  1959-62. 

Selected  One-Man 
Exhibitions 

Editions  Alecto  Gallery,  The 
Print  Centre,  London,  1963. 

Kasmin  Gallery,  London,  1963, 
1965, 1966, 1968, 1969, 1970, 
1972. 

Alan  Gallery,  New  York,  1964. 

The  Museum  of  Modern  Art, 
New  York,  1964, 1968, 1979. 

Stedelijk  Museum,  Amster- 
dam, 1966. 

Galleria  dell'Ariete,  Milan, 
Italy,  1966. 

Studio  Marconi,  Milan,  Italy, 
1966. 

Musees  Royaux  des  Beaux- 
Arts,  Brussels,  1966. 

Landau-Alan  Gallery,  New 
York,  1967. 

Galerie  Mikro,  Berlin,  West 
Germany,  1968. 

Whitworth  Art  Gallery,  Man- 
chester, England,  1969. 

Andre  Emmerich  Gallery,  New 
York,  1969, 1970, 1971,  1972, 
1973, 1977, 1979, 1980.  1981. 

Galerie  Springer,  Berlin,  West 
Germany,  1970. 

Kestner-Gesellschaft,  Han- 
nover, West  Germany,  1970. 

Whitechapel  Art  Gallery. 
London,  1970  (retrospective; 
traveled  to  Hannover.  West 
Germany;  Rotterdam,  The 
Netherlands;  Belgrade,  Yugo- 
slavia). 

Lane  Gallery,  Bradford, 
England,  1970. 

Kunsthalle  Bielefeld,  West 
Germany,  1971. 

Victoria  and  Albert  Museum. 
London, 1972. 

Holburne  Museum,  Bath, 
England,  1973. 

M.  Knoedler  and  Company, 
New  York,  1973, 1974, 1980. 

Michael  Walls  Gallery,  New 
York, 1974. 

Kinsman  Morrison  Gallery, 
London,  1974. 

D.  M.  Gallery.  London,  1974. 

Musee  des  Arts  Decoratifs, 
Paris,  1974  (retrospective). 

Galerie  d'Eendt,  Amsterdam, 
1974. 

La  Medusa  Graphica,  Rome, 
1974. 

Dayton's  Gallery  12,  Min- 
neapolis, Minnesota,  1974. 


Margo  Leavin  Gallery,  Los 
Angeles,  1975. 

European  Gallery,  San  Fran- 
cisco, 1975 

Galerie  Claude- Bernard, 
Paris,  1975. 

Nishimura  Gallery,  Tokyo, 
1975. 

City  Art  Gallery,  Manchester, 
England,  1975. 

City  Art  Gallery,  Bristol, 
England,  1975. 

Dorothy  Rosenthal  Gallery, 
Chicago,  1975, 1977. 

Nicholas  Wilder  Gallery,  Los 
Angeles,  1976. 

Waddington  Graphics,  London, 
1976. 

Robert  Self  Gallery,  London, 
1976. 

Laing  Art  Gallery,  Newcastle 
upon  T>ne,  England,  1976. 

Sonnabend  Gallery,  New  York, 
1976. 

Gallery  One,  San  Jo.se  State 
University  Art  Department, 
California,  1977. 

Galerie  Andre  Emmerich, 
Zurich,  Switzerland,  1977. 

Galerie  Neuendorf,  Hamburg, 
West  Germany,  1977. 

Gemini  GEL.,  Los  Angeles, 
1977, 1979. 

Gallery  at  24,  Miami,  F'lorida, 
1978. 

Waddington  Galleries,  Toronto. 
1978. 

Graphische  Sammlung  Alber- 
tina,  Vienna,  1978  (traveled  to 
Tiroler  Landesmu.seuni  Ferdi- 
nandeum,  Innsbruck,  Austria; 
Galerie  Bloch,  Innsbruck; 
Kulturhaus  de  Stadt,  Graz, 
Austria;  Kiinstlerhaus  Salz- 
burg, Austria). 

LA.  Louver,  Venice,  California, 
1978. 

Yale  Center  for  British  Art, 
New  Haven,  Connecticut,  1978 
(traveled  to  Minneapolis 
Institute  of  Arts,  Minnesota; 
Cranbrook  Academy  of  Art, 
Bloomfield  Hills,  Michigan; 
Nelson  Gallery-Atkins  Mu.seum, 
Kansas  City,  Missouri;  Hirsh- 
horn  Museum  and  Sculpture 
Garden,  Washington,  D.C.; 
Art  Gallery  of  Ontario, Toronto; 
Toledo  Museum  of  Art,  Ohio; 
The  Fine  Arts  Museums  of  San 
Francisco;  The  Denver  Art 
Museum,  Colorado;  Grey  Art 
Gallery  and  Study  Center, 
New  York;  The  Tate  Gallery, 
London). 

M.  H.  de  Young  Memorial 
Museum,  San  Francisco,  1979. 

Foster  Goldstrom  Fine  Arts, 
San  Francisco,  1979. 

Frances  Aronson  Gallery,  Ltd., 
Atlanta,  Georgia,  1979. 


City  Art  Gallery  and  Museum, 
Bradford,  England,  1979. 

Petersburg  Press,  New  York, 
1980. 

Getler/Pall  Gallery,  New  York, 
1980. 

Selected  Group  Exhibitions 

New  Painting  1958-61,  The 
Arts  Council  of  Great  Britain, 
London,  1961  (traveled 
throughout  Great  Britain). 

Second  Paris  Biennale  of 
Young  Arli.its,  Musee  d' Art 
Moderne  de  la  Ville  de  Paris, 
1961;  Third  Pan.':  Biennale, 
1963. 

Third  International  Biennale 
of  Print.':,  National  Museum  of 
Art,  Tokyo,  1962. 

British  Painting  in  the  Sixties, 
Whitechapel  Art  Gallery,  Lon- 
don, 1963. 

Screen  Prints,  Institute  of  Con- 
temporary Arts,  London,  1964. 

Contemporary  Painters  and 
Sculptors  as  Printmakers,  The 
Mu.seum  of  Modern  Art.  New 
York,  1966. 

Young  British  Painters,  1955- 
1960.  Art  Gallery  of  New  South 
Wales,  Sydney,  Australia,  1964. 

Six  Young  Painters,  The  Arts 
Council  of  Great  Britain,  Lon- 
don, 1964  (traveled  throughout 
Great  Britain). 

Pop,  etc Museum  des  20 

Jahrhunderts,  Vienna,  1964. 

Pick  of  the  Pops.  National 
Museum  of  Wales.  Cardiff. 
1964. 

Painting  and  .Sculpture  of  a 
Decade  1954-1964,  The 
Calouste  Gulbenkian  Founda- 
tion, The  Tate  Gallery,  London, 
1964. 

Nieuwe  Realisten ,  Gemeente 
Mu.seum,  The  Hague,  The 
Netherlands,  1964. 

London  Group  Jubilee  Exhi- 
bition 1914-1964,  The  Tate 
Gallery,  London,  1964. 

British  Painters  of  Today, 
Kunsthalle  Dii.sseldorf.  West 
Germany,  1964 

London:  The  New  Scene, 
Walker  Art  Center,  Min- 
neapolis, Minnesota,  1965. 

Pop  Art,  Nouveau  Realisme, 
etc.,  Musees  Royaux  des 
Beaux-Arts,  Brussels,  1965. 

IX  Bienal  de  Sao  Paulo, 
Brazil,  1967. 

Drawing  Towards  Painting, 
The  Arts  Council  of  Great 
Britain,  London,  1967. 

European  Painters  of  Today, 
Musee  des  Arts  Decoratifs, 
Paris,  1967. 

Painting  in  Britain,  Rhode 
Island  School  of  Design,  Provi- 
dence, 1967. 


Documenta  4,  Kassel,  West 
Germany,  1968. 

Venice  Biennale,  Italy,  1968. 

Young  Generation:  Great 
Britain,  Akademie  der  Kiinste, 
Berlin,  West  Germany,  1968. 

Pop  Art  Redefined.  Hay  ward 
Gallery,  London,  1969. 

Image/Design:  Animation,  Re- 
cherche, Confrontation,  Musee 
d'Art  Moderne  de  la  Ville  de 
Paris,  1970. 

British  Painting  and  Sculpture. 
1960-1970.  National  Gallery 
of  Art,  Washington,  D.C.,  1971. 

Snap,  National  Portrait  Gal- 
lery, London,  1971. 

La  Peinture  Anglaise  Aujourd'- 
hui.  Musee  d'Art  Moderne  de 
la  Ville  de  Paris,  1972. 

Henry  Moore  to  Gilbert  and 
George:  Modern  British  Art 
from  The  Tate  Gallery,  Musees 
Royaux  des  Beaux-Arts,  Brus- 
sels, 1973. 

European  Painting  in  the  '70s, 
Los  Angeles  County  Museum 
of  Art,  1975. 

Drawings  of  Five  British  Art- 
ists. Museum  Boymans-van 
Beuningen,  Rotterdam,  The 
Netherlands,  1976. 

Art  Around  1970.  The  Ludwig 
Collection  at  Aachen,  Kiinst- 
lerhaus,  Vienna,  1977. 

Kunstlerphotographien  im  XX 
Jahrhundert,  Kestner- 
Gesellschaft,  Hannover,  West 
Germany,  1977. 

Printed  Art:  A  View  of  Two 
Decades.  The  Museum  of 
Modern  Art,  New  York,  1980. 

Selected  Bibliography 

Guy  Brett,  "David  Hockney:  A 
Note  in  Progress,"  The  London 
Magazine,  vol.  3,  no.  1,  April 
1963. 

David  Hockney,  David  Hockney: 
A  Rake's  Progress  and  Other 
Etchings,  London,  December 
1963, 

G.  S.  Whittet,  "David  Hockney: 
His  Life  and  Good  Times," 
The  Studio,  vol  166,  no.  848, 
December  1963,  pp.  252-53. 

Gene  Baro,  "The  British  Scene," 
Arts  Magazine,  vol.  38,  no.  9, 
May-June  1964,  pp.  94-101. 

Larry  Rivers  and  David 
Hockney,  "Beautiful  or  Inter- 
esting," Art  and  Literature, 
no.  5,  summer  1965,  pp.  94-117. 

Robert  Hughes,  "Blake  and 
Hockney,"  The  London  Maga- 
zine, vol.  5,  no.  10,  January 
1966,  pp.  68-73. 

Gene  Baro,  "Hockney  s  Ubu," 
Art  and  Artists,  vol,  1,  no.  2, 
May  1966,  pp.  8-13. 


110 


Gene  Baro,  "David  Hockney 's 
Drawings,"  Studio  Interna- 
tional, vol.  171,  no.  877,  May 
1966,  pp.  184-86, 

Gene  Baro,  David  Hockney, 
Stedelijk  Museum,  Amster- 
dam, 1966. 

Lucy  R.  Lippard,  Pop  Art,  New 
York, 1966. 

Patrick  Procktor,  David 
Hockney,  Galleria  dell'Ariete, 
Milan,  Italy,  1966. 

Wibke  von  Bonin,  David 
Hockney  1968,  Galerie  Mikro, 
Berlin,  West  Germany,  1968. 

David  Shapiro,  "David 
Hockney  Paints  a  Portrait," 
Art  News,  vol.  68,  no.  3,  May 
1969,  pp.  28-31,  64-66. 

Wibke  von  Bonin,  "Germany: 
Hockney  s  Graphic  Art,"  Arts 
Magazine,  vol.  43,  no.  8,  sum- 
mer 1969,  pp.  52-53. 

Frank  Bowling,  "A  Shift  in 
Perspective,"  Arts  Magazine. 
vol.  43,  no.  8,  summer  1969, 
pp.  24-27. 

Mario  Amaya,  David  Hockney. 
Whitworth  Art  Gallery,  Man- 
chester University,  England, 
1969. 

Christopher  Finch,  Images  as 
Language:  Aspects  of  British 
Art  1950-1968,  London,  1969. 

T.  A.  Heinrich.  Graphics  by 
David  Hockney,  Rodman  Hall 
Arts  Centre,  St.  Catharines, 
Ontario,  Canada,  1969. 

Edward  Lucie-Smith,  Late 
Modern,  New  York,  1969. 

John  Russell  and  Suzi  Gablick, 
Pop  Art  Redefined,  London, 
1969 

John  Christopher  Battye, 
"Interview  with  David 
Hockney,"  Art  and  Artists,  vol. 
5,  no.  1,  April  1970,  pp.  50-53. 

Edward  Lucie-Smith,  "The 
Real  David  Hockney,"  Nova 
(London),  April  1970. 

Mark  Glazebrook,  David 
Hockney,  Kestner-Gesellschaft, 
Hannover,  West  Germany,  1970, 

Mark  Glazebrook,  David 
Hockney:  Paintings,  Prints, 
and  Drawings,  1960-1970, 
Whitechapel  Art  Gallery, 
London,  1970, 

John  Loring,  "David  Hockney 
Drawings,"  Arts  Magazine, 
vol,  49,  no.  3,  November  1974, 
pp.  66-67. 

John  Rothenstein,  Modern 
British  Painters:  Wood  to 
Hockney,  vol.  3,  London,  1974. 

Ellen  Lubell,  "David 
Hockney,"  Arts  Magazine,  vol. 
49,  no.  6,  February  1975,  p.  11. 

Sarah  Fox-Pitt,  "David  Hockney 
und  The  Rake's  Progress," 
DU  (Zurich),  vol.  35,  no.  413, 
July  1975,  pp.  71-81, 


Marc  Fumaroli,  David  Hockney: 
dessins  et  gravures,  Galerie 
Claude  Bernard,  Paris,  1975, 

Petra  Kipphoff.  "Verse  in  Far- 
ben  von  David  Hockney  (Line 
in  Color  by  David  Hockney)," 
Zeitmagazin,  vol,  1,  no,  15, 
April  1977,  pp.  58-65. 

Carter  Ratcliff,  "The  Photo- 
graphs of  David  Hockney," 
Arts  Magazine,  vol.  51,  no.  8, 
April  1977,  pp.  96-97. 

Nigel  Gosling,  "Things  Exactly 
as  They  Are,"  Horizon,  vol. 
20,  no.  11,  November  1977, 
pp.  46-51, 

Barnaby  Conrad,  "Mr,  Geld- 
zahler  Looks  at  Mr,  Hockney," 
Art  World,  vol,  1,  no,  3,  No- 
vember-December 1977, 

David  Deitcher,  "David 
Hockney:  The  Recent  Work," 
Arts  Magazine,  vol,  52,  no,  4, 
December  1977,  pp,  129-133, 

Peter  Fuller,  "An  Interview 
with  David  Hockney,"'  Art 
Monthly,  December/January 
1978,  pp,  5-10, 

David  Hockney,  David  Hockney 
by  David  Hockney,  ed,  Nikos 
Stangos,  intro,  by  Henry  Geld- 
zahler.  New  York,  1977, 

David  Conrad,  "A  Candidate 
in  Search  of  a  Fall."'  Times 
Literary  Supplement,  March 
10, 1978, 

Roy  Bongartz,  "David  Hockney: 
Reaching  the  Top  with  Appar- 
ently No  Great  Effort,""  Art 
News,  vol,  77,  no,  3,  March  1978, 
pp,  44-47, 

Gene  Baro,  David  Hockney: 
Prints  and  Drawings,  Interna- 
tional Exhibitions  Foundation, 
Washington,  DC,  1978, 

Edmund  Pillsbury,  David 
Hockney:  Travels  with  Pen, 
Pencil,  and  Ink,  New  York, 
1978, 

Peter  Weiermair,  Drawings 
and  Prints,  Graphische  Samm- 
lung  Albertina,  Vienna,  1978, 

Eric  Gibson,  "David  Hockney,"' 
Art  International,  vol,  23,  no, 
10,  March  1979,  pp,  48-49, 

Anthony  Bailey,  "Profiles: 
David  Hockney,"  The  New 
Yorker,  July  30, 1979,  pp, 
35-69, 

Jan  Butterfield,  "David 
Hockney:  Blue  Hedonistic 
Pools,"  Print  Collector's  News- 
letter, vol,  10,  no,  3,  July- 
August  1979,  pp,  73-76, 

Stephen  Bann,  "Where  the 
English  Draw  the  Line," 
Artforum,  vol,  28,  no,  1,  Sep- 
tember 1979,  pp.  70-72, 

Nikos  Stangos,  Pictures  by 
David  Hockney,  London,  1979, 

Henry  Geldzahler,  "Hockney 
Abroad:  A  Slide  Show,""  Art  in 
America,  vol,  69,  no,  2,  Feb- 
ruary 1981,  pp,  126-41, 


Robert  Irwin 

Born  in  Long  Beach,  Califor- 
nia, 1928;  lives  in  Los  Angeles, 
Attended  Otis  Art  Institute, 
Los  Angeles,  1948-50;  Jepson 
Art  Institute,  Los  Angeles, 
1951;  Chouinard  Art  Institute, 
Los  Angeles,  1952-54. 

Selected  One-Man 
Exhibitions 

Ferus  Gallery,  Los  Angeles, 
1959, 1960, 1962, 1964, 

Pasadena  Art  Museum, 
California,  1960, 1968, 

Pace  Gallery,  New  York,  1966 
1968, 1969, 1971, 1973, 1974. 

Museum  of  Art,  Rhode  Island 
School  of  Design,  Providence, 
1969, 

La  Jolla  Museum  of  Art, 
California,  1969, 

Artist"s  Studio,  Venice, 
California,  1970. 

The  Museum  of  Modern  Art, 
New  York,  1971. 

Ace  Gallery,  Los  Angeles,  1971. 

Fogg  Art  Museum,  Cam- 
bridge, Massachusetts,  1972, 

Galerie  Ileana  Sonnabend, 

Paris,  1972. 

Riko  Mizuno  Gallery,  Los 
Angeles,  1972, 1974, 1976. 

University  Art  Galleries, 
Wright  State  University,  Day- 
ton, Ohio,  1974, 

Art  Galleries,  University  of 
California,  Santa  Barbara, 
1974, 

Fort  Worth  Art  Museum, 
Texas,  1975, 

Museum  of  Contemporary  Art, 
Chicago,  1975, 

Walker  Art  Center,  Min- 
neapolis, Minnesota,  1976, 

Whitney  Museum  of  American 
Art.  New  York,  1977, 

San  Diego  State  University 
Art  Gallery,  California,  1979, 

Selected  Group  Exhibitions 

50  Paintings  by  37  Painters  of 
the  Los  Angeles  Area,  The 
UCLA  Art  Galleries,  Univer- 
sity of  California,  Los  Angeles, 
1960, 

Pacific  Profile  of  Young  West 
Coast  Painters,  Pasadena  Art 
Museum,  California,  1962, 

Fifty  California  Artists,  Whit- 
ney Museum  of  American  Art, 
New  York,  1962, 

Seven  New  Artists,  Sidney 
Janis  Gallery,  New  York,  1964, 

Some  New  Art  from  Los 
Angeles,  San  Francisco  Art 
Institute,  1964, 


The  Responsive  Eye.  The 
Museum  of  Modern  Art,  New 
York,  1965  (traveled  to  Pasa- 
dena Art  Museum). 

VIII  Bienal  de  Sao  Paulo, 
Brazil,  1965. 

Robert  IrwinlKenneth  Price, 
Los  Angeles  County  Museum 
of  Art,  1966. 

Gene  Davis,  Robert  Irwin, 
Richard  Smith,  The  Jewish 
Museum,  New  York,  1968. 

Los  Angeles  6,  Vancouver  Art 
Gallery,  British  Columbia,  1968. 

Faculty  '68.  Art  Gallery,  Uni- 
versity of  California,  Irvine,  1968. 

6  Artists,  6  Exhibitions,  Walker 
Art  Center,  Minneapolis, 
Minnesota,  1968. 

Documenta  4,  Kassel,  West 
Germany,  1968. 

Late  Fifties  at  the  Ferus,  Los 
Angeles  County  Museum  of 
Art,  1968. 

Robert  IrwinlDoug  Wheeler, 
Fort  Worth  Art  Center 
Museum.  Texas,  1969  (traveled 
to  Corcoran  Gallery  of  Art, 
Washington,  DC;  Stedelijk 
Museum,  Amsterdam). 

Kompas  4:  West  Coast  USA, 
Stedelijk  van  Abbemuseum, 
Eindhoven,  The  Netherlands, 
1969  (traveled  to  Pasadena 
Art  Museum,  California;  City 
Art  Museum  of  St.  Louis,  Mis- 
souri; Art  Gallery  of  Ontario, 
Toronto;  Fort  Worth  Art  Cen- 
ter Museum,  Texas). 

West  Coast  1945-1969. 
Pasadena  Art  Museum, 
California,  1969  (traveled  to 
City  Art  Museum  of  St.  Louis, 
Missouri;  Art  Gallery  of 
Ontario,  Toronto;  Fort  Worth 
Art  Center  Museum,  Texas). 

Belli  Irwin  I  Wheeler,  The  Tate 
Gallery,  London,  1970. 

Permutations:  Light  and  Color, 
Mu.seum  of  Contemporary  Art, 
Chicago,  1970. 

Transparency,  Reflection,  Light. 
Space:  Four  Artists.  The  UCLA 
Art  Galleries,  University  of 
California,  Los  Angeles,  1971. 

Art  and  Technology.  Los 
Angeles  County  Museum  of 
Art,  1971. 

Works  for  New  Spaces,  Walker 
Art  Center,  Minneapolis, 
Minnesota,  1971. 

11  Los  Angeles  Artists,  Hay- 
ward  Gallery,  London,  1971 
(traveled  to  Musees  Royaux des 
Beaux-Arts,  Brussels; 
Akademie  der  Kiinste,  Berlin, 
West  Germany). 

USA  West  Coast,  Kunstverein, 
Hamburg,  West  Germany, 
1972  (traveled  to  Kunstverein, 
Hannover;  Kblnischer  Kunst- 
verein, Cologne;  Wiirttem- 
bergisher  Kunstverein, 
Stuttgart). 


Works  in  Spaces.  San  Fran- 
cisco Museum  of  An,  1973. 

Art  in  Space:  Some  Turning 
Points.  The  Detroit  Institute  of 
Arts,  Michigan,  1973. 

Illumination  and  Reflection, 
Downtown  Branch,  Whitney 
Museum  of  American  Art. 
New  York,  1974. 

Art  Now  74.  John  F  Kennedy 
Center  for  the  Performing 
Arts,  Washington,  DC,  1974. 

Some  Recent  American  Art. 
The  Museum  of  Modern  Art, 
New  York,  1974. 

A  View  Through,  Art  Galleries, 
California  State  University, 
Long  Beach,  1975. 

University  of  California,  Irvine: 
1965-75,  La  JoUa  Museum  of 
Contemporary  Art,  California, 
1975. 

The  Last  Time  I  Saw  Ferus: 
1957-1966,  Newport  Harbor 
Art  Museum,  Newport  Beach, 
California,  1976. 

200  Years  of  American  Sculp- 
ture, Whitney  Museum  of 
American  Art,  New  York,  1976. 

Critical  Perspectives  in  Ameri- 
can Art,  Fine  Arts  Center 
Gallery,  University  of  Mas- 
sachusetts, Amherst,  1976. 

Projects  for  PC  A,  Philadelphia 
CoUegeof  Art,  1976. 

Venice  Biennale,  Italy,  1976. 

Painting  and  Sculpture  in 
California:  The  Modern  Era. 
San  Francisco  Museum  of 
Modern  Art,  1976  (traveled  to 
National  Collection  of  Fine 
Arts,  Smithsonian  Institution, 
Washington,  DC). 

American  Artists:  A  New  Dec- 
ade, Fort  Worth  Art  Museum, 
Texas,  1976. 

Andre,  Buren.  Irwin.  Nordman: 
Space  as  Support.  University 
Art  Museum,  University 
of  California,  Berkeley,  1979. 

Contemporary  Art  in  Southern 
California.  The  High  Museum 
of  Art,  Atlanta,  Georgia,  1980. 

Selected  Bibliography 

Lloyd  Goodrich  and  George 
Culler,  Fifty  California  Artists, 
Whitney  Museum  of  American 
Art,  New  York,  1962. 

Constance  Perkins,  Pacific 
Profile  of  Young  West  Coast 
Painters,  Pasadena  Art 
Museum,  California,  1962. 

Jan  van  der  Marck,  "The  Cali- 
fornians,"  Art  International, 
vol.  7,  no.  5,  May  1963,  pp.  28-31. 

John  Coplans,  "Circle  of  Styles 
on  the  West  Coast,"  Art  in 
America,  vol.  52,  no.  4,  June 
1964,  pp.  24-41. 

John  Coplans,  "Formal  Art," 
Artforum,  vol.  2,  no.  12,  sum- 
mer 1964,  pp.  42-46. 


Henry  T  Hopkins,  "Abstract 
Expressionism,"  Artforum, 
vol.  2,  no.  12,  summer  1964, 
pp  59-63. 

Philip  Leider,  "The  Cool 
School,"  Artforum,  vol.  2,  no. 
12,  summer  1964,  pp.  47-52. 

John  Coplans,  "Los  Angeles: 
The  Scene,'  Art  News.  vol.  64, 
no  6,  March  1965,  pp.  29, 
56-58. 

John  Coplans,  "The  New 
Abstraction  on  the  West  Coast 
USA,"  Studio  International, 
vol.  169,  no.  865.  May  1965, 
pp.  192-99. 

Robert  Irwin,  "Statement," 
Artforum,  vol.  3,  no.  9,  June 
1965,  p.  23. 

William  C.  Seitz,  The  Respon- 
sive Eye,  The  Museum  of 
Modern  Art,  New  York,  1965. 

Barbara  Rose,  "Los  Angeles: 
The  Second  City,"  Art  in 
America,  vol.  54,  no.  1, 
January-February  1966, 
pp.  110-15. 

Philip  Leider,  Robert  IrwinI 
Kenneth  Price,  Los  Angeles 
County  Museum  of  Art,  1966 

Robert  Irwin,  "Letter  to 
Editor."  Artforum,  vol.  6,  no.  6. 
February  1968,  p.  4. 

Emily  Wasserman,  "Robert 
Irwin,  Gene  Davis,  Richard 
Smith,"  Artforum,  vol.  6,  no.  9, 
May  19R8,  pp.  47-49. 

Corrine  Robins,  "The  Circle  in 
Orbit,"  Art  in  America,  vol.  56, 
no.  6,  November- December 
1968,  p.  65 

John  Coplans,  Robert  Irwin, 
Pasadena  Art  Museum, 
California.  1968. 

John  Coplans,  Gene  Davis, 
Robert  Irwin,  Richard  Smith, 
The  Jewish  Museum,  New 
York,  1968. 

Jane  Livingston,  Robert  IrwinI 
Doug  Wheeler,  Fort  Worth  Art 
Center  Museum,  Texas.  1969. 

Melinda  Terbell,  "Los  Angeles," 
Arts  Magazine,  vol.  45,  no.  2, 
November  1970,  p.  53. 

Peter  Plagens,  "Robert  Irwin, 
the  Artist's  Premises,"  Art- 
forum, vol.  9,  no.  4,  December 
1970,  pp.  88-89. 

Michael  Compton,  BellllrwinI 
Wheeler,  The  Tate  Gallery, 
London,  1970. 

Elizabeth  Baker,  "Los  Angeles, 
1971."  Art  News,  vol.  70,  no.  5, 
September  1971.  pp.  30-31. 

Maurice  Tuchman  and  Jane 
Livingston,  11  Los  Angeles 
Artists,  Hayward  Gallery, 
London, 1971 

Maurice  Tuchman,  A  Report 
on  the  Art  and  Technology 
Program  of  the  Los  Angeles 
County  Museum  of  Art,  Los 
Angeles,  1971. 


Frederick  S.  Wight,  Transpar- 
ency, Reflection,  Light,  Space: 
Four  Arti.fts,  The  UCLA  Art 
Galleries,  University  of 
California,  Los  Angeles,  1971. 

Alistair  Mackintosh,  "Robert 
Irwin:  An  Interview  with 
Alistair  Mackintosh,"  Art  and 
Artists,  vol.  6,  no.  12,  March 
1972,  pp.  24-27. 

Jan  Butterfield.  "Part  I  The 
State  of  the  Real:  Robert  Irwin 
Di.scusses  the  Art  of  an  Ex- 
tended Consciousness,"  Arts 
Magazine,  vol.  46,  no.  8,  sum- 
mer 1972,  pp.  47-49. 

Sam  Hunter,  American  Art  of 
the  l\rentieth  Century,  New 
York, 1973. 

Jan  Butterfield,  "An  Uncom- 
promising Other  Way,"  Arts 
Magazine,  vol.  48,  no.  9,  June 

1974,  pp.  52-55. 

Peter  Plagens,  Sunshine  Muse: 
Contemporary  Art  on  the 
West  Coa.ft,  New  York.  1974. 

Larry  Rosing,  "Robert  Irwin  at 
Pace,"  Art  in  America,  vol.  63, 
no.  2,  March  1975,  p.  87. 

Robert  Irwin,  "Twenty  Ques- 
tions," Vision,  no.  1,  September 

1975.  pp.  38-39. 

Ira  Licht,  Robert  Irwin, 
Museum  of  Contemporary  Art, 
Chicago.  1975. 

Barbara  Rose,  American  Art 
since  1900,  New  York,  1975. 

Jan  Butterfield.  "Robert  Irwin: 
On  the  Periphery  of  Knowing," 
Arts  Magazine,  vol.  50,  no.  6, 
February  1976,  pp.  72-77. 

Edward  Levine,  "Robert  Irwin: 
World  Without  Frame,"  Arts 
Magazine,  vol  50,  no.  6, 
February  1976,  pp.  72-77. 

Janet  Kardon,  Projects  for 
PCA,  Philadelphia  College  of 
Art,  1976. 

Edward  Levine,  "Robert  Ir- 
win's Recent  Work,"  Artforum, 
vol.  16,  no.  4,  December  1977, 
pp.  24-29. 

Frederick  S.  Wight,  Los 
Angeles  Art  Community  Group 
Portrait:  Robert  Irwin,  Oral 
History  Program,  University 
of  California,  Los  Angeles, 
1977 

"The  Image  of  Nature,"  Art 
Actuel,  Skira  Annuel,  Switzer- 
land, vol.  4, 1978,  pp.  92-127. 

Peter  Plagens,  "Irwin's  Bar 
Paintings,"  Artforum,  vol.  17, 
no.  7,  March  1979,  pp.  41-43. 

Robert  Atkins,  "Irwin  Trips 
the  Light  Fantastic:  Univer- 
sity Art  Museum,  Berkeley, 
CA,""  Arlweek.  vol.  10,  no.  15, 
April  14. 1979,  pp  1,  16. 

Clark  V  Poling,  Contemporary 
Art  in  Southern  California, 
The  High  Mu.seum  of  Art, 
Atlanta,  Georgia,  1980. 


Craig  Kauffman 

Born  in  Los  Angeles,  1932; 

lives  in  Los  Angeles  and  New 

York. 

B.A.,  University  of  California, 

Los  Angeles,  1955;  M.A.,  1956. 

Selected  One-Man 
Exhibitions 

Felix  Landau  Gallery,  Los 
Angeles,  1953. 

Dilexi  Gallery,  San  Francisco, 
1958, 1960. 

Ferus  Gallery,  Los  Angeles, 
1958, 1963, 1965, 1967. 

Pace  Gallery,  New  York,  1967, 
1969, 1970, 1973. 

Irving  Blum  Gallery,  Los 
Angeles,  1969, 1972 

Pasadena  Art  Museum, 
California,  1970. 

University  of  California, 
Irvine,  1970. 

Galerie  Darthea  Speyer,  Paris, 
1973, 1976. 

Riko  Mizuno  Gallery,  Los 
Angeles,  1975. 

Robert  Elkon  Gallery,  New 
York,  1976. 

Comsky  Gallery,  Los  Angeles, 
1976. 

Arco  Center  for  Visual  Art, 
Los  Angeles,  1978. 

Blum-Helman  Gallery,  New 
York,  1979. 

Janus  Gallery,  Los  Angeles, 
1979. 

Grapestake  Gallery,  San  Fran- 
cisco, 1979. 

La  Jolla  Museum  of  Contem- 
porary Art,  California,  1981 
(traveling  retrospective). 

Selected  Group  Exhibitions 

50  Paintings  by  37  Painters  of 
the  Los  Angeles  Area,  The 
UCLA  Art  Galleries,  Univer- 
sity of  California,  Los  Angeles, 
1960, 

5  at  Pace.  Pace  Gallery,  New 
York, 1965. 

Multiples,  The  Museum  of 
Modern  Art,  New  York,  1965. 

Los  Angeles  Now,  Robert 
Fraser  Gallery,  London,  1966. 

Ten  from  Los  Angeles,  Seattle 
Art  Museum,  Washington, 
1966. 

Form,  Color,  Image,  The 
Detroit  Institute  of  Arts,  1967 

A  New  Aesthetic,  Washington 
Gallery  of  Modern  Art, 
Washington,  DC,  1967. 

The  1960s,  The  Museum  of 
Modern  Art,  New  York,  1967. 


112 


The  United  States  of  America: 
V  Paris  Biennale,  1967  (orga- 
nized by  Pasadena  Art 
Museum,  California). 

Contemporary  American 
Painting  and  Sculpture,  Kran- 
nert  Art  Museum,  Univer- 
sity of  Illinois,  Urbana,  1967. 

California,  Janie  C.  Lee  Gal- 
lery, Dallas,  Texas,  1968. 

Painting:  Out  front  the  Wall, 
Des  Moines  Art  Center,  Iowa, 
1968. 

Made  ofPla.'ftic,  Flint  Institute 
of  Arts,  Michigan,  1968. 

Los  Angeles  6,  Vancouver  Art 
Gallery,  British  Columbia,  1968. 

1968  Annual  Exhibition: 
Sculpture,  Whitney  Museum 
of  American  Art,  New  York; 
1979  Biennial  Exhibition. 

Late  Fifties  at  the  Ferus,  Los 
Angeles  County  Museum  of 
Art,  1968. 

Three  from  Los  Angeles:  Irwin. 
Bell.  Kauffman,  Dunkelman 
Gallery,  Montreal,  1969. 

14  Sculptors:  The  Industrial 
Edge,  Walker  Art  Center, 
Minneapolis,  Minnesota,  1969. 

Plastic  New  Art.  Institute  of 
Contemporary  Art  of  the 
University  of  Pennsylvania, 
Philadelphia,  1969. 

Plastic  Presence,  Milwaukee 
Art  Center,  Wisconsin,  1969. 

Contemporary  American  Mas- 
ter Works,  La  Jolla  Museum  of 
Art,  California,  1969. 

Kompas  4:  West  Coast  USA, 
Stedelijk  van  Abbemuseum, 
Eindhoven,  The  Netherlands, 
1969. 

A  Los  Angeles  Aesthetic.  Uni- 
versity of  California,  Irvine, 
1969. 

A  Decade  of  California  Color, 
Pace  Gallery,  New  York,  1970. 

Transparency,  Reflection. 
Light.  Space:  Four  Artists.  The 
UCLA  Art  Galleries,  Univer- 
sity of  California,  Los  Angeles, 
1971. 

The  State  of  California  Paint- 
ing, Govett-Brewster  Art 
Gallery,  New  Plymouth,  New 
Zealand,  1972. 

Spray,  The  Santa  Barbara 
Museum  of  Art,  California, 
1971. 

Contemporary  American  Art: 
Los  Angeles,  Fort  Worth  Art 
Center  Museum,  Texas,  1972. 

33rd  Biennial  Exhibition  of 
Contemporary  American 
Painting,  Corcoran  Gallery  of 
Art,  Washington,  DC,  1973. 

71st  American  Exhibition  of 
Painting  and  Sculpture,  The 
Art  Institute  of  Chicago,  1974. 

Illuminations  and  Reflections, 
Whitney  Museum  of  American 
Art,  New  York,  1974. 


Modern  and  Contemporary 
Sculpture,  Newport  Harbor 
Art  Museum,  Newport  Beach, 
California,  1974. 

Current  Concerns,  Part  I,  Los 
Angeles  Institute  of  Contem- 
porary Art,  1975. 

University  of  California,  Irvine: 
1965-75.  La  Jolla  Museum  of 
Contemporary  Art,  California, 
1975. 

The  Last  Time  I  Saw  Ferus, 
1957-1966,  Newport  Harbor 
Art  Museum,  Newport  Beach, 
California,  1976. 

Painting  and  Sculpture  in 
California:  The  Modern  Era, 
San  Francisco  Museum  of 
Modern  Art,  1976  (traveled  to 
National  Collection  of  Fine 
Arts,  Smithsonian  Institution, 
Washington,  D.C.). 

California  Abstraction, 
Sacramento  Museum  of  Art, 
California,  1979. 

Selected  Bibliography 

John  Coplans,  "Circle  of  Styles 
on  the  West  Coast,"  Art  in 
America,  vol.  52,  no.  3,  June 
1964,  p.  24. 

Clair  Wolfe,  "Art  West,"  Arts 
and  Architecture,  vol.  81,  no.  7, 
July  1964,  pp.  6,  44. 

John  Coplans,  "Formal  Art," 
Artforum,  vol.  2,  no,  12,  sum- 
mer 1964,  pp.  42-46. 

Henry  T.  Hopkins,  "Abstract 
Expressionism,"  Artforum,  vol. 
2,  no.  12,  summer  1964, 
pp.  59-63. 

Philip  Leider,  "The  Cool 
School,"  Artforum,  vol.  2,  no. 
12,  summer  1964,  pp.  47-52. 

Clair  Wolfe,  "Notes  on  Craig 
Kauffman,"  Artforum,  vol.  3, 
no.  5,  February  1965,  pp.  20-21. 

John  Coplans,  "Los  Angeles: 
The  Scene,"  Art  News,  vol.  64, 
no.  1,  March  1965,  p.  28. 

John  Coplans,  "The  New 
Abstraction  on  the  West  Coast 
USA,"  Studio  International, 
vol.  169,  no.  865,  May  1965, 
pp.  192-99. 

Barbara  Rose,  "Los  Angeles: 
The  Second  City,"  Art  in 
America,  vol.  54,  no.  1, 
January/ February  1966, 
pp.  110-15. 

Robert  Smithson,  "Entropy 
and  the  New  Movements," 
Artforum,  vol.  4,  no.  10.  June 
1966,  pp.  26-31. 

Larry  Aldrich,  "New  Talent 
USA,"  Art  in  America,  vol.  54, 
no.  4,  July/August  1966,  p.  22. 

Henry  T.  Hopkins,  "West  Coast 
Style,"  Art  Voices,  vol.  5,  no.  4, 
fall  1966,  pp.  60-72. 

John  Coplans,  Los  Angeles 
Now.  Robert  Fraser  Gallery, 
London,  1966. 


John  Coplans,  Ten  from  Los 
Angeles,  Seattle  Art  Museum, 
Washington,  1966. 

Barbara  Ro.se,  A  New  Aes- 
thetic, Washington  Gallery  of 
Modern  Art,  Washington, 
DC,  1967  (with  statement  by 
Kauffman). 

Douglas  M.  Davis,  "Art  and 
Technology,"  Art  in  America, 
vol.  56,  no.  1,  January/ 
February  1968,  p.  28. 

Jane  Livingston,  "Recent 
Works  by  Craig  Kauffman:  A 
New  Non-Pictorial  Set  of 
Terms,"  Artforum,  vol.  6,  no.  6, 
February  1968,  pp.  36-39. 

Martin  Friedman,  Barbara 
Rose,  and  Christopher  Finch, 
14  Sculptors:  The  Industrial 
Edge,  Walker  Art  Center, 
Minneapolis,  Minnesota,  1969. 

Barbara  Rose,  American 
Painting,  Cleveland,  Ohio, 
1970. 

Craig  Kauffman  and  Robert 
Morris,  Using  Walls,  The 
Jewish  Museum,  New  York, 
1970. 

Frederick  S.  Wight,  Transpar- 
ency, Reflection.  Light.  Space: 
Four  Artists.  The  UCLA  Art 
Galleries,  University  of 
California,  Los  Angeles,  1971 
(interview  with  Kauffman). 

Sam  Hunter,  American  Art  of 
the  Twentieth  Century.  New 
York, 1972. 

Peter  Plagens,  Sunshine 
Muse:  Contemporary  Art  on 
the  West  Coast,  New  York, 
1974. 

Jan  Butterfield,  "Craig 
Kauffman  Interviewed  by  Jan 

Butterfield,"  Art  in  America, 
vol.  64,  no  4,  July  1974, 
pp.  81-82. 

Melinda  Wortz,  "Craig 
Kauffman's  Interiors," 
Artweek,  vol.  9,  no.  19,  May 
1978,  p.  3. 

Peter  Frank,  "Unslick  in  LA," 
Art  in  America,  vol.  66,  no.  5, 
September/October  1978, 
pp.  84-91. 

Melinda  Wortz,  Craig 
Kauffman,  Arco  Center  for 
Visual  Art,  Los  Angeles,  1978. 

Robert  McDonald,  Craig 
Kauffman:  A  Comprehensive 
Exhibition  1957-1980,  La  Jolla 
Museum  of  Contemporary  Art, 
California,  1981. 


Edward  Kienholz 

Born  in  Fairfield,  Washington, 
1927;  resident  of  Los  Angeles, 
1953-73;  lives  in  Hope,  Idaho, 
and  Berlin,  West  Germany. 
Attended  Washington  State 
College,  1945. 

Selected  One-Man 
Exhibitions 

Cafe  Galeria,  Los  Angeles, 
1955. 

Coronet  Louvre,  Los  Angeles, 
1955. 

Syndell  Studios,  Los  Angeles, 
1956. 

Exodus  Gallery,  San  Pedro, 
California,  1958. 

Ferus  Gallery,  Los  Angeles, 
1959, 1960, 1961, 1963. 

Pasadena  Art  Museum, 
California,  1961. 

Alexander  lolas  Gallery,  New 
York,  1963. 

Dwan  Gallery,  Los  Angeles, 
1963, 1964, 1965. 

Dwan  Gallery,  New  York, 
1965. 1967. 

Los  Angeles  County  Museum 
of  Art,  1966  (traveled  to  Insti- 
tute of  Contemporary  Art, 
Boston). 

University  of  Saskatchewan, 
Regina,  Canada,  1966. 

Washington  Gallery  of  Modern 
Art,  Washington,  D.C.,  1967 

Boise  Art  Museum,  Idaho, 
1968. 

Gallery  669,  Los  Angeles, 
1968. 

Eugenia  Butler  Gallery.  Los 
Angeles,  1969. 

Ateneumin  Taidemuseo, 
Helsinki,  Finland,  1969. 

Wide  White  Space  Gallery, 
Antwerp,  Belgium,  1970, 1971, 
1972. 

Gallery  Michael  Werner, 
Cologne,  West  Germany,  1970. 

Onnasch  Gallery,  Cologne, 
West  Germany,  1970, 1973. 

Moderna  Museet,  Stockholm, 
1970  (retrospective  of  tableaux; 
traveled  to  Stedelijk  Museum, 
Amsterdam;  Stadtische 
Kunsthalle  Diisseldorf,  West 
Germany;  Kunsthaus  Zurich, 
Switzerland;  The  Museum  of 
Modern  Art,  New  York;  Centre 
National  d'Art  Contemporain, 
Paris;  Institute  of  Contem- 
porary Arts,  London). 

Gemini  G.E.L.,  Los  Angeles, 
1972, 1980. 

Akademie  der  Kiinste,  Berlin, 
West  Germany,  1973. 

Stadtische  Kunsthalle  Diissel- 
dorf, West  Germany,  1973. 


Galerie  Christel,  Helsinki, 
Finland.  1974. 

Galleria  Bocchi,  Milan,  Italy, 
1974. 

Nationalgalerie,  Berlin,  West 
Germany,  1977  (traveled  to 
Galerie  Maeght,  Zurich, 
Switzerland). 

Galleria  d'Arle  II  Gabbiano, 
Rome,  1977 

Centre  National  d'Art  et  de 
Culture  Georges  Pompidou, 
Paris,  1977 

Stadtische  Kunsthalle  Diis-sel- 
dorf  West  Germany,  1977. 

Galerie  Apollon  Die  Insel, 
Munich,  West  Germany,  1977 

Akademie  der  Kiinste,  Berlin, 
West  Germany,  1978. 

Galerie  Maeght,  Paris,  1979 

Louisiana  Museum,  Hum- 
lebaek,  Denmark,  1979. 

Henry  Art  Gallery,  University 
of  Washington,  Seattle,  1979. 

University  Art  Museum,  Uni- 
versity of  California,  Berkeley, 
1979. 

The  Douglas  Hyde  Gallery, 
Trinity  College,  Dublin,  1981. 

Galerie  Maeght,  Zurich, 
Switzerland,  1981. 

Selected  Group  Exhibitions 

The  Art  of  Assemblage,  The 
Museum  of  Modern  Art,  New 
York,  1961. 

Fifty  California  Artists.  Whit- 
ney Museum  of  American  Art, 
New  York,  1962. 

My  Country  'Tis  of  Thee,  Dwan 
Gallery,  Los  Angeles,  1962. 

Contemporary  California 
Sculpture,  Oakland  Art 
Mu.seum,  California,  1963. 

Contemporary  American 
Sculpture,  Whitney  Museum 
of  American  Art,  New  York, 
1964. 

Boxes,  Dwan  Gallery,  Los 
Angeles,  1964. 

Contemporary  Sculpture  and 
Prints,  Whitney  Museum  of 
American  Art,  New  York, 
1966. 

68th  American  Exhibition  of 
Painting  and  Sculpture,  The 
Art  Institute  of  Chicago,  1966. 

American  Sculpture  of  the 
Sixties,  Los  Angeles  County 
Museum  of  Art,  1967. 

Protest  and  Hope,  New  School 
Art  Center,  New  York,  1967 

Dada,  Surrealism  and  Their 
Heritage,  The  Museum  of 
Modern  Art,  New  York,  1968. 

Los  Angeles  6,  Vancouver  Art 
Gallery,  British  Columbia, 
1968. 

The  Machine,  The  Museum  of 
Modern  Art,  New  York,  1968. 


Assemblage  in  California, 
University  of  California,  Irvine, 
1968. 

Documenta  4,  Kassel,  West 
Germany,  1968;  Documenta  5, 
1972. 

Late  Fifties  at  the  Ferus,  Los 
Angeles  County  Museum  of 
Art,  1968. 

When  Art  Becomes  Form, 
Kunsthalle  Bern,  Switzerland, 
1968. 

Kunst  der  Sechziger  Jahre, 
Sammlung  Ludwig,  Wallraf- 
Richartz  Museum,  Cologne, 
West  Germany,  1969 

Human  Concern  I  Personal 
Torment:  The  Grotesque  in 
American  Art,  Whitney 
Museum  of  American  Art, 
New  York,  1969. 

Pop  Art  Redefined,  Hay  ward 
Gallery,  London,  1969. 

Kompas  4:  West  Coast  USA, 
Stedelijk  van  Abbemuseum, 
Eindhoven,  The  Netherlands, 
1969. 

Das  Ding  als  Ohjekt, 
Kunsthalle  Niirnberg,  West 
Germany,  1970. 

Continuing  Surrealism,  La 
Jolla  Museum  of  Contempo- 
rary Art,  California.  1971. 

Metamorphose  van  het  object, 
Musees  Royaux  des  Beaux- 
Arts,  Bru.ssels,  1971. 

Looking  West  1970,  Joslyn  Art 
Mu.seum,  Omaha,  Nebraska, 
1970. 

Ars  74,  Ateneumin 
Taidemuseo,  Helsinki,  Finland, 
1974. 

Word  Works,  Mt.  San  Antonio 
College,  Walnut,  California, 
1974. 

8  from  Berlin:  Erben,Erber, 
Gosewitz,  Hiklicke.  Kienholz, 
Koberling,  Lakner,  Schonebeck, 
Fruit  Market  Gallery,  Scottish 
Arts  Council,  Edinburgh,  1975. 

Painting  and  Sculpture  in 
California:  The  Modern  Era, 
San  Francisco  Museum  of 
Modern  Art,  1976  (traveled  to 
National  Collection  of  Fine 
Arts,  Smithsonian  Institution, 
Washington,  DC.) 

Venice  Biennale,  Italy,  1977. 

Aspekte  der  60er  Jahre:  Aus 
der  Sammlung  Reinhard  On- 
nasch, Nationalgalerie,  Berlin, 
West  Germany,  1978. 

tlcouler  par  les  yeux,  Musee 
d'Art  Moderne  de  la  Ville  de 
Paris.  1980. 

1981  Biennial  Exhibition, 
Whitney  Museum  of  American 
Art,  New  York,  1981. 


Selected  Bibliography 

William  C.  Seitz,  The  Art  of 
Assemblage,  The  Museum  of 
Modern  Art,  New  York,  1961. 

Donald  Factor,  "Assemblage," 
FM  and  Fine  Arts  (Beverly 
Hills),  vol.  3,  no.  9,  September 
1962,  pp.  6-9. 

Arthur  Secunda,  "John  Bern- 
hardt, Charles  Frazier,  Ed- 
ward Kienholz,"  Art/brum, 
vol.  1,  no.  5,  November  1962, 
pp.  30- .34. 

Donald  Judd,  "Review:  Exhibi- 
tion at  Alexander  lolas  Gal- 
\ery" Arts  Magazine,  vol.  37, 
no.  6,  March  1963,  pp.  63-64. 

Philip  Leider,  "West  Coast  Art: 
Three  Images,"  Artforum,  vol. 
1,  no.  12,  June  1963,  pp.  21-23. 

John  Coplans,  "Sculpture  in 
California,"  Art/brum,  vol.  2, 
no.  11,  August  1963,  pp.  3-6. 

Donald  Factor,  "A  Portfolio  of 
California  Sculptors:  Edward 
Kienholz,"  Ar//brum,  vol.  2, 
no.  2,  August  1963,  pp.  15-59. 

Dore  Ashton,  Edward  Kienholz, 
Alexander  lolas  Gallery, 
New  York,  1963. 

John  Coplans,  "Circle  of  Styles 
on  the  West  Coast,"  Ar/  in 
America,  vol.  52,  no.  3,  June 
1964,  pp.  24-41. 

John  Reuschel,  "Los  Angeles: 
Edward  Kienholz,  Three  Tab- 
leaux," Artforum,  vol.  3,  no.  1, 
September  1964,  p.  14 

Philip  Leider, "Kienholz, '/"VoH- 
tier,  vol.  16,  no.  1,  November 

1964,  p.  25. 

Walter  Hopps,  Boxes,  Dwan 
Gallery,  Los  Angeles,  1964. 

Barbara  Rose,  "Looking  at 
American  Sculpture, "A rt/brum, 
vol.  3,  no.  5,  February  1965, 
pp.  29-36. 

John  Coplans,  "Los  Angeles: 
The  Scene,"  Art  News,  vol.  64, 
no.  1,  March  1965,  pp  28-29, 
56-58. 

John  Coplans,  "Assemblage: 
the  Savage  Eye  of  Edward 
Kienholz,"  Studio  International, 
vol.  170,  no.  869,  September 

1965.  pp.  112-15. 

Suzi  Gablik,  "Crossing  the 
Bar,"  Art  News,  vol.  64,  no.  6, 
October  1965,  pp.  22-25. 

Henry  T  Hopkins,  "Edward 
Kienholz,"  Art  in  America,  vol. 
53,  no.  5,  October- November 
1965,  p.  73. 

Barbara  Rose.  "Los  Angeles: 
The  Second  City,"  Art  in 
America,  vol.  54,  no.  1,  January/ 
February  1966,  pp.  110-15. 

Annette  Michelson,  "Review: 
Exhibition  at  Dwan  Gallery," 
Art  International,  vol.  10,  no.  2, 
February  1966,  pp.  60-61. 


Michael  Blankfort,  "Edward 
Kienholz:  A  Very  Private 
Report,"  Los  A  ngeles  Magazine. 
April  1966,  pp.  48-51. 

Sidney  Tillim,  "The  Under- 
ground Pre-Raphaelites  of  Ed- 
ward Kienholz,"  A r//brum,  vol, 
4,  no  8,  April  1966,  pp.  38-40. 

Maurice  Tuchman,  "A  Decade 
of  Edward  Kienholz,"  Art/brum, 
vol.  4,  no.  8,  April  1966, 
pp.  41-45. 

Lucy  R.  Lippard,  Pop  Art.  New 
York,  1966. 

Maurice  Tuchman,  Edward 
Kienholz,  Los  Angeles  County 
Museum  of  Art,  1966. 

Walter  Hopps,  Works  from  the 
1960s  by  Edward  Kienholz. 
Washington  Gallery  of  Modern 
Art,  Washington,  D.C.,  1967 

Jo  Baer,  "Edward  Kienholz:  A 
Sentimental  Journeyman,"  Art 
International,  vol.  12,  no.  4, 
April  1968,  pp.  45-49. 

John  Coplans,  Walter  Hopps, 
Philip  Leider,  and  Hal  Glicks- 
man.  Assemblage  in  California: 
Works  from  the  late  50's  and 
early  60's,  Art  Gallery,  Univer- 
sity of  California,  Irvine,  1968. 

John  Coplans,  Barbara  Rose, 
Jane  Livingston,  and  Maurice 
Tuchman,  Los  Angeles  6. 
Vancouver  Art  Gallery,  British 
Columbia,  1968. 

K.  G.  Pontus  Hulten,  The  Ma- 
chine. The  Museum  of  Modern 
Art,  New  York,  1968. 

Dore  Ashton,  "Crisis/Violence/ 
Reform:  Response  to  Crisis 
in  American  Art,"  Art  in 
America,  vol.  57,  no.  1,  January/ 
February  1969,  pp.  24-35. 

Charlotte  Willard,  "Crisis/ 
Violence/Reform:  Violence 
and  Art,"  Art  in  America,  vol. 
57,  no.  1,  January/February 
1969,  pp.  36-43. 

Dore  Ashton,  "A  Planned 
Coincidence,"  A r/  in  America, 
vol.  57,  no.  5,  September/ 
October  1969,  pp.  36-47. 

Robert  Doty,  Human  Concern/ 
Personal  Torment:  The 
Grotesque  in  American  Art, 
Whitney  Museum  of  American 
Art,  New  York,  1969. 

John  Russell  and  Suzi  Gablik, 
Pop  Art  Redefined.  London, 
1969 

Gilbert  Brownstone  and  Jean 
Clair,"Edward  et  Lyn  Kienholz" 
(interview),  Chroniques  de 
I'Art  Vivant.  no.  14,  October 
1970,  p.  6. 

Art  Seidenbaum,  "Goodbye  Ed 
Kienholz,"  Los  Angeles  Times 
West  Magazine.  November  22, 
1970,  pp.  9-13. 

Alain  Jouffroy,  "Edward  Kien- 
holz," Opus  International,  no.  21, 
December  1970,  pp.  21-25. 

114 


LeRoy  Butler,  Looking  West 
1970,  Joslyn  Art  Museum, 
Omaha,  Nebraska,  1970. 

KG.  Pontus  Hulten,  £du)ard 
Kienholz:  11  +  11  Tableaux, 
Moderna  Museet,  Stockholm, 
1970. 

Jiirgen  Harten  and  K.  G.  Pon- 
tus Hulten,  Edward  Kienholz, 
1960-1970,  Stiidtische 
Kunsthalle  Diisseldorf,  West 
Germany,  1970. 

Margit  Staber,  "Geofrorene 
Scheinheiligkeiten,"  Die 
Weltwoche,  no.  29,  January 
1971,  p.  37. 

Jbrg  Steiner,  "Landschaffen 
Februar  bis  Marz  1971," 
Tagesanzeiger  Magazine,  vol.  7, 
no.  20,  February  1971,  pp.  8-12. 

K  G.  Pontus  Hulten,  "Edward 
Kienholz,"  Ar/  and  Artists,  vol. 
6,  no.  3,  June  1971,  pp.  14-19. 

Heine  Bastian,£rfii'a/-rf 
Kienholz,  10  Objekte  von  1960 
bis  1964,  Onnasch  Galerie, 
Cologne,  West  Germany,  1971 

Dieter  Ronte,  "Le  'Monument 
aux  Morts  Transportable' 
d'Edward  Kienholz,"  Oeil,  no. 
216,  December  1972,  pp.  22-29. 

Joan  Mondale,  Politics  in  Art, 
Minneapolis,  Minnesota,  1972. 

Willy  Rotzler,  Objekt-Kunst: 
Von  Duchamp  bis  Kienholz, 
Cologne.  West  Germany,  1972. 

G.  Metken,  "Moralische  'Tab- 
leau': zum  Werk  von  Edward 
Kienholz,"  Pantheon,  vol.  31, 
no.  1,  January-March  1973, 
pp.  75-89. 

Barbara  Catoir,  "Interview  mit 
Edward  Kienholz,"  Kunstwerk, 
vol.26,  no.  2,  March  1973, 
pp.  49-50. 

John  Anthony  Thwaites, 
"Kienholz  and  Realism,"  Ar/ 
and  Artists,  vol.  8,  no.  6, 
September  1973,  pp.  22-27. 

Salme  Savajas-Korte,  Ars  74, 
Ateneumin  Taidemuseo, 
Helsinki,  Finland,  1974 

Edward  Kienholz,  Galleria 
Bocchi,  Milan,  Italy,  1974. 

K.  G.  Pontus  Hulten  and  F. 
Minervino,  "Che  ve  ne  sembra 
dell'America?"  Bollaffiarte, 
vol.  6,  no.  46,  January- February 

1975,  pp.  28-33. 

Wayne  Andersen,  American 
Sculpture  in  Process:  19301 
1970,  Boston,  1975. 

Edward  Kienholz,  "Ed  Kienholz 
Tableaux  Concepts,"  Opus 
International,  no.  60,  July 

1976,  pp.  18-19. 

K.  Ruhberg,  "Mein  Thema  ist, 
dass  wir  bier  sind,"  Magazin 
Kunst,  vol.  16,  no.  3, 1976, 
pp.  40-49. 

Paul  von  Blum,  The  Art  of 
Social  Conscience,  New  York, 
1976. 


Cynthia  Golomb  Dettelbach, 
In  the  Driver's  Seat:  the  Auto- 
mobile in  American  Literature 
and  Popular  Culture,  Westport, 
Connecticut,  1976. 

K.  G.  Pontus  Hulten,  The  Art 
Show,  1963-77:  Edward 
Kienholz,  Centre  National 
d'Art  et  de  Culture  Georges 
Pompidou,  Paris,  1977. 

Jorn  Merkert,  Edward 
Kienholz:  Volksempfdngers, 
Nationalgalerie,  Berlin,  West 
Germany,  1977. 

Willy  Rotzler,  Roland  H. 
Wiegenstein,  and  Jorn  Mer- 
kert. Edward  Kienholz:  "Volk- 
sempfdngers," Galleria  d'Arte 
II  Gabbiano,  Rome,  1977 

Lawrence  Weschler,  Los 
Angeles  Art  Community  Group 
Portrait:  Edward  Kienholz, 
Oral  History  Program,  Univer- 
sity of  California,  Los  Angeles, 
1977. 

Gerald  D.  Silk,  "Ed  Kienholz's 
'Back  Seat  Dodge  '38,'"  Arts 
Magazine,  vol.  52,  no.  5, 
January  1978,  pp.  112-18. 

Dieter  Honisch,  Aspects  of  the 
1960's:  From  the  Collection  of 
Rein  hard  Onnasch,  National- 
galerie, Berlin,  West  Germany, 
1978. 

Knud  W.  Jensen,  Willy  Rotzler, 
Jorn  Merkert,  and  Karl  Ruhr- 
berg,  "Kienholz  pa  Louisiana," 
Louisiana-Revy,  vol.  19,  no.  3, 
February  1979,  pp.  2-25 

Ron  Glowen,  "Kienholz's  New 
Formalism:  Sculpture  1976-79," 
Artweek,  vol.  10,  no.  40,  Decem- 
ber 1, 1979,  p.  7. 

Alain  Macaire,  "Edward  Kien- 
holz: Proces  de  I'lnavouable," 
Canal,  no.  34,  December  1979, 
p.  6. 

Michael  Anping,  Edward  Kien- 
holz: The  Back  Seat  Dodge  '38, 
University  Art  Museum, 
University  of  California, 
Berkeley,  1979. 

Jean  Pierre  Faye  and  Jorn 
Merkert,  "Kienholz,"  Derriire 
le  Miroir,  Galerie  Maeght, 
Paris,  1979. 

Suzanne  Page,  Frank  Popper, 
Rene  Block,  and  Helmut  Dan- 
niger,  ^couter  par  les  yeux, 
Musee  National  d'Art  Moderne 
de  la  Ville  de  Paris,  1980. 

David  Scott,  Edward  Kienholz 
Tableaux,  1961-1979,  Douglas 
Hyde  Gallery,  Trinity  College, 
Dublin,  1981. 


John  McLaughlin 

Born  in  Sharon,  Massachusetts, 
1898;  moved  to  Dana  Point, 
California,  1946;  died  in  1976. 
Self-taught. 

Selected  One-Man 
Exhibitions 

Felix  Landau  Gallery,  Los 
Angeles,  1953, 1958, 1962, 1966. 

Pasadena  Art  Museum,  Cali- 
fornia, 1963  (retrospective). 

Corcoran  Gallery  of  Art, 
Washington,  D.C.,  1969 
(retrospective). 

University  of  California, 
Irvine,  1971. 

Nicholas  Wilder  Gallery,  Los 
Angeles,  1972. 1979. 

La  JoUa  Museum  of  Contem- 
porary Art,  California,  1973. 

Whitney  Museum  of  American 
Art,  New  York,  1974. 

Andre  Emmerich  Gallery,  New 
York,  1974, 1979. 

Felicity  Samuel  Gallery, 
London,  1975. 

Galerie  Andre  Emmerich, 
Zurich,  Switzerland,  1976, 1981. 

University  of  California,  Santa 
Barbara,  1978. 

Annely  Juda  Fine  Art,  London, 
1981. 

Selected  Group  Exhibitions 

///  Bienal  de  Sao  Paulo, 
Brazil.  1955. 

Four  Abstract  Classicists,  Los 
Angeles  County  Museum  of 
History,  Science  and  Art,  1959. 

Geometrical  Abstraction  in 
America,  Whitney  Museum  of 
American  Art,  New  York, 
1962. 

The  Artist's  Environment: 
West  Coast,  Amon  Carter 
Museum,  Fort  Worth,  Texas, 
1962  (traveled  to  UCLA  Art 
Galleries,  University  of  Cali- 
fornia, Los  Angeles). 

Fifty  California  Artists,  Whit- 
ney Museum  of  American  Art, 
New  York,  1962. 

California  Hard-Edge  Paint- 
ing, The  Fine  Arts  Patrons  of 
Newport  Harbor.  Balboa  Pavil- 
ion Gallery,  California,  1964. 

The  Responsive  Eye,  The 
Museum  of  Modern  Art,  New 
York,  1955  (traveled  to  Pasa- 
dena Art  Museum). 

Looking  West  1970,  Joslyn  Art 
Museum.  Omaha,  Nebraska, 
1970. 

11  Los  Angeles  Artists,  Hay- 
ward  Gallery,  London,  1971 
(traveled  to  Musees  Royaux  des 
Beaux-Arts,  Brussels; 
Akademie  der  Kiinste,  Berlin, 
West  Germany). 


Painting  and  Sculpture  in 
California:  The  Modern  Era, 
San  Francisco  Museum  of 
Modern  Art,  1976  (traveled  to 
National  Collection  of  Fine 
Arts,  Smithsonian  Institution, 
Washington,  D.O- 

California:  5  Footnotes  to 
Modern  Art  History,  Los 
Angeles  County  Museum  of 
Art,  1977. 

Selected  Bibliography 

Gerald  Nordland,  "Art,"  Fron- 
tier, vol.  11,  no.  2,  December 
1959,  p.  23. 

Jules  hangsner.  Four  Abstract 
Classicists,  Los  Angeles 
County  Museum  of  History, 
Science  and  Art,  1959. 

Lawrence  AUoway,  "Classicism 
or  Hard-Edge?"  Art  Interna- 
tional, vol.  4,  no.  2,  February- 
March  1960,  pp.  60-63,  71. 

George  D.  Culler,  "California 
Artists,"  Art  in  America,  vol. 
50,  no.  3,  fall  1962,  pp.  84-89. 

Philip  Leider,  "West  Coast  Art: 
Three  Images,"  Ar?/brum, 
vol.  1,  no.  12,  June  1963,  p.  21. 

John  McLaughlin  (statement), 
John  McLaughlin:  A  Retro- 
spective Exhibition,  Pasadena 
Art  Museum,  California,  1963. 

John  Coplans,  "John  McLaugh- 
lin, Hard-Edge  and  American 
Painting,"  Art/brum,  vol.  2, 
no.  7,  January  1964,  p.  28. 

Gerald  Nordland,  "McLaughlin 
and  the  Totally  Abstract," 
Frontier,  vol.  15,  no.  3,  January 
1964,  p.  22. 

Don  Factor,  "Southern 
California  Original  Hard-Edge 
Painters,"  Artforum,  vol.  3, 
no.  9,  June  1965,  p.  12. 

John  McLaughlin  (statement), 
"Artists  on  Their  Art,"  Art  In- 
ternational, vol.  12,  no.  5,  May 
15, 1968,  pp.  47-55. 

James  Harithas,  John 
McLaughlin:  Retrospective 
Exhibition  1946-1967,  Corcoran 
Gallery  of  Art,  Washington, 
DC,  1969. 

Maurice  Tuchman  and  Jane 
Livingston,  7i  Los  Angeles 
Artists,  Hayward  Gallery, 
London,  1971. 

"John  McLaughlin,"  interview 
by  Paul  Karlstrom,  Archives 
of  American  Art,  Smithsonian 
Institution,  Washington,  D.C., 
July  1974. 

Susan  C.  Larsen.  "John 
McLaughlin,"  and  Donald  F. 
McCallum,  "The  John 
McLaughlin  Papers  in  the 
Archives  of  American  Art," 
California:  5  Footnotes  to 
Modern  Art  History,  Los 
Angeles  County  Museum  of 
Art,  1977 


Susan  C.  Larsen,  "John 
McLaughlin,"  Art  Interna- 
tional, vol.  22,  no.  1,  January 
1978,  p.  8. 

Dore  Ashton,  "Painting  Tbward: 
The  Art  of  John  McLaughlin," 
Arts  Magazine,  vol.  54,  no.  3, 
November  1979,  pp.  120-21. 

Carter  Ratcliff,  "John 
McLaughlin's  Abstinent 
Abstraction,"  Art  in  America, 
vol  67,  no.  8,  December  1979, 
pp.  100-101. 

Sheldon  Figoten,  "An  Appreci- 
ation of  John  McLaughlin," 
The  Archives  of  American  Art 
Journal,  vol.  20,  no.  4, 1980. 


Edward  Moses 

Born  in  Long  Beach,  Califor- 
nia, 1926;  lives  in  Venice, 
California. 

B  A.,  University  of  California, 
Los  Angeles,  1955;  M.A.,  1958. 

Selected  One-Man 
Exhibitions 

Ferus  Gallery,  Los  Angeles, 
1958, 1959, 1961,  1963, 1964. 

Dilexi  Gallery,  San  Francisco, 
1958,  1959, 1960, 1961. 

Area  Gallery,  New  York,  1959. 

Alan  Gallery,  New  York,  1962, 
1965. 

Everett  Ellin  Gallery,  Los 
Angeles,  1965. 

Riko  Mizuno  Gallery,  Los 
Angeles,  1969,  1970, 1980. 

Hansen-Fuller  Gallery,  San 
Francisco,  1971, 1975. 

Ronald  Feldman  Fine  Arts, 
New  York,  1971, 1973. 

Pomona  College  Gallery, 
Claremont,  California,  1971. 

Felicity  Samuel  Gallery, 
London,  1972, 1975. 

Dayton's  Gallery  12,  Minne- 
apolis, Minnesota,  1972, 1973. 

Portland  Center  for  the  Visual 
Arts,  Oregon,  1973. 

Nicholas  Wilder  Gallery,  Los 
Angeles,  1973,  1976. 

Art  in  Progress,  Zurich,  Swit- 
zerland, 1973. 

Art  in  Progress,  Munich,  West 
Germany,  1974. 

Andre  Emmerich  Gallery,  New 
York, 1974, 1975. 

The  Frederick  S.  Wight  Gal- 
lery, University  of  California, 
Los  Angeles,  1976. 

Los  Angeles  County  Museum 
of  Art,  1976. 

Margo  Leavin  Gallery,  Los 
Angeles,  1977, 1978. 

Daniel  Weinberg  Gallery,  San 
Franci.sco,  1977. 

Dorothy  Rosenthal  Gallery, 
Chicago,  1977 

Municipal  Art  Gallery, 
Davenport,  Iowa,  1978. 

Dorothy  Gates  Gallery,  Kan- 
sas City,  Missouri,  1978. 

Smith  Andersen  Gallery,  Palo 
Alto,  California,  1978. 

Texas  Gallery,  Houston,  1978, 
1979. 

James  Corcoran  Gallery,  Los 
Angeles,  1979, 1980. 

Sidney  Janis  Gallery,  New 
York,  1979. 


Selected  Group  Exhibitions 

Objects  on  the  Landscape 
Demanding  of  the  Eye,  Ferus 
Gallery,  Los  Angeles,  1957. 

Fifty  California  Artists,  Whit- 
ney Museum  of  American  Art, 
New  York,  1962. 

Late  Fifties  at  the  Ferus,  Los 
Angeles  County  Museum  of 
Art,  1968 

West  Coast  194.51969, 
Pasadena  Art  Museum, 
California,  1969  (traveled  to 
City  Art  Museum  of  St.  Louis, 
Missouri;  Art  Gallery  of 
Ontario,  Toronto;  Fort  Worth 
Art  Center  Museum,  Tfexas). 

Graphics:  Six  West  Coast  Art- 
ists. Galleria  Milano,  Italy, 
1969. 

A  Decade  of  California  Color, 
Pace  Gallery,  New  York,  1970. 

.32nd  Biennial  Exhibition  of 
Contemporary  American 
Painting,  Corcoran  Gallery  of 
Art,  Washington,  DC,  1971; 
34th  Biennial,  1975. 

Documenta  5,  Kassel,  West 
Germany,  1972. 

70lh  American  Exhibition  of 
Painting  and  Sculpture,  The 
Art  Institute  of  Chicago,  1973. 

Art  Now  74,  The  John  F  Ken- 
nedy Center  for  the  Perform- 
ing Arts,  Washington,  D.C., 
1974. 

The  Last  Time  I  Saw  Ferus: 
1957-1966,  Newport  Harbor 
Art  Museum,  Newport  Beach, 
California,  1976. 

Painting  and  .Sculpture  in 
California:  The  Modern  Era, 
San  Francisco  Museum  of 
Modern  Art,  1976  (traveled  to 
National  Collection  of  Fine 
Arts,  Smithsonian  Institution, 
Washington,  D.C.). 

Selections  from  the  Frederick 
R.  Weisman  Company  Col- 
lection of  California  Art, 
Corcoran  Gallery  of  Art, 
Washington,  D.C.,  1979. 

A  Painting  Installation,  Baxter 
Art  Gallery,  California  ln,sti- 
tute  of  Technology,  Pasadena, 
1979. 

Contemporary  Art  in  Southern 
California,  The  High  Museum 
of  Art,  Atlanta,  Georgia,  1980. 

Selected  Bibliography 

Jules  Langsner,  "Los  Angeles: 
Moses  in  Abstraction,"  Art 
News,  vol.  58,  no.  4,  summer 
1959,  p.  59. 

Regina  Bogat, "Fifty  California 
Artists,"  Art/brum,  vol.  1,  no.  7, 
November  1962,  pp.  23-26. 

Lloyd  Goodrich  and  George 
Culler,  Fifty  California  Artists, 
Whitney  Mu.seum  of  American 
Art,  New  York,  1962. 


Donald  Factor,  "Assemblage," 
Artforum,  vol.  2,  no.  12,  sum- 
mer 1964,  pp.  38-41. 

Fide!  A.  Danieli,  "Los  Angeles," 
Artforum.  vol.  3,  no.  1,  Sep- 
tember 1964,  pp.  16-18. 

Henry  T.  Hopkins,  "West  Coast 
Style:  Ed  Moses,"  Art  Voices, 
vol.  5,  no.  4,  fall  1966,  p.  69. 

James  Monte,  Late  Fifties  at 
the  Ferus,  Los  Angeles  County 
Museum  of  Art,  1968. 

Jane  Livingston,  "Two  Genera- 
tions in  Los  Angeles,"  Art  in 
America,  vol.  57,  no.  1,  January 
1969,  pp.  92-97 

Thomas  Carver,  "Los  Angeles: 
Mizuno,"  Art/brum,  vol.  7, 
no.  10,  summer  1969,  p.  67. 

Peter  Plagens,  "Los  Angeles: 
Edward  Moses,  Mizuno 
Gallery,"  Artforum,  vol.  9,  no. 
1,  September  1970,  p.  82. 

Melinda  Terbell,  "Los  Angeles: 
Mizuno  Gallery,"  Arts,  vol.  45, 
no.  2,  November  1970,  p.  53. 

Peter  Plagens,  "West  Coast 
Blues,"  Artforum,  vol.  9,  no.  6, 
February  1971,  pp.  52-57. 

Melinda  Terbell,  "Edward 
Moses:  Mizuno  Gallery,  Los 
Angeles,"  Arts,  vol.  45,  no.  4, 
February  1971,  p.  45. 

Helene  Winer,  Ed  Moses:  Some 
Early  Work,  Some  Recent  Work 
and  Some  Work  in  Progress, 
Pomona  College  Gallery, 
Claremont,  California,  1971. 

Peter  Plagens,  "Ed  Moses:  The 
Problem  of  Regionalism," 
Artforum,  vol.  10,  no.  7,  March 

1972,  pp.  83-85. 

Peter  Plagens,  "From  School 
Painting  to  a  School  of  Paint- 
ing in  Los  Angeles,"  Art  in 
America,  vol.  61,  no.  2,  March/ 
April  1973,  pp.  36-41. 

Paul  Stitelman,  "Notes  on  the 
Absorption  of  the  Avant-Garde 
into  the  Culture,"  Arts  Maga- 
zine, vol.  47,  no.  7,  May/June 

1973,  p.  55. 

John  Loring,  "Print  as  Sur- 
face," Arts  Magazine,  vol.  48, 
no.  1,  September-October 
1973,  p.  48. 

Jeremy  Gilbert-Rolfe,"Ed 
Moses,  Andre  Emmerich 
Gallery  Uptown,"  Art/orum, 
vol.  12,  no.  9,  May  1974,  p.  69. 

Peter  Plagens,  Sunshine  Muse: 
Contemporary  Art  on  the  West 
Coast,  New  York,  1974. 

Joseph  Masheck,  "Ed  Moses 
and  the  Problem  of 'Western' 
Tradition,"  Art.s  Magazine, 
vol.  50,  no.  4,  December  1975, 
pp.  56-61. 

Melinda  Wortz,  "Field  Flowers, 
Plexiglas  Horizons,"  Art  News, 
vol.  75,  no.  8,  October  1976, 
p.  94. 


Nancy  Marnier,  "Ed  Moses' 
Absolutist  Abstractions,"  Art 
in  America,  vol.  64,  no.  6, 
November- December  1976, 
pp.  94-95. 

Stephanie  Barron,  Ed  Moses: 
New  Paintings,  Los  Angeles 
County  Museum  of  Art,  1976. 

Henry  T  Hopkins,  Painting 
and  Sculpture  in  California: 
The  Modern  Era,  San  Fran- 
cisco Museum  of  Modern  Art, 
1976. 

Joseph  Masheck,  Ed  Moses: 
Drawings  1958-1976,  The 
Frederick  S  Wight  Art  Gal- 
lery, University  of  California, 
Los  Angeles,  1976. 

Betty  Turnbull,  The  Last  Time 
I  Saw  Ferus:  1957-1966,  New- 
port Harbor  Art  Museum, 
Newport  Beach,  California, 
1976. 

Su.san  C.  Larsen,  "Los  Angeles 
—  Inside  Jobs,"  Art  News,  vol. 
77,  no.  1,  January  1978,  p.  110. 

David  S.  Rubin,  "Ed  Moses," 
Arts  Magazine,  vol.  52,  no.  5, 
January  1978,  p.  12. 

Jeff  Perrone,  "Ed  Moses  at 
Sidney  Janis,"Art/'orum,  vol.17, 
no.  10,  summer  1979,  p.  70. 

"Edward  Moses,"  interview  by 
Sheldon  Figoten,  Archives  of 
American  Art,  Smithsonian 
Institution,  Washington,  DC, 
July  1980  (restricted  access). 

Clark  V.  Poling,  Contemporary 
Art  in  Southern  California, 
The  High  Museum  of  Art, 
Atlanta,  Georgia,  1980. 


Bruce  Nauman 

Born  in  Fort  Wayne,  Indiana, 
1941;  resident  of  Pasadena, 
1969-78;  lives  in  Pecos,  New 
Mexico. 

B.S.,  University  of  Wisconsin, 
Madison,  1960-64;  M.A.,  Uni- 
versity of  California,  Davis, 
1964-66. 

Selected  One-Man 
Exhibitions 

Nicholas  Wilder  Gallery,  Los 
Angeles,  1966, 1969, 1970, 
1973,1977. 

Leo  Castelli  Gallery,  New 
York,  1968, 1969, 1971, 1973, 
1975, 1976, 1978, 1980. 

Galerie  Konrad  Fischer,  Diis- 
seldorf,  West  Germany,  1968, 
1970, 1971, 1974, 1975, 1978. 

Art  Gallery,  Sacramento  State 
College,  California,  1968. 

Galerie  Ileana  Sonnabend, 
Paris,  1969, 1971. 

20-20  Gallery,  London,  Ontario, 
Canada,  1969. 

Galleria  Sperone,  Turin,  Italy, 
1970. 

Art  Gallery,  San  Jose  State 
College,  California,  1970. 

Galerie  Ricke,  Cologne,  West 
Germany,  1970. 

Gallery  Reese  Palley,  San 
Francisco,  1970. 

Galerie  Bischofberger,  Zurich, 
Switzerland,  1971. 

Helman  Gallery,  St.  Louis, 
Missouri,  1971. 

Betty  Gold  Fine  Modern 
Prints,  Los  Angeles,  1971. 

Ace  Gallery,  Vancouver, 
British  Columbia,  1971, 1974, 
1976. 

Galleria  Frangoise  Lambert, 

Milan,  Italy,  1971. 

Projection  Gallery,  Cologne, 
West  Germany,  1972. 

Los  Angeles  County  Museum 
of  Art,  1972-73  (retrospective; 
traveled  to  Whitney  Museum 
of  American  Art,  New  York; 
Kunsthalle  Bern,  Switzerland; 
Stadtische  Kunsthalle  Diissel- 
dorf,  West  Germany;  Stedelijk 
van  Abbemuseum,  Eindhoven, 
The  Netherlands;  Palazzo 
Reale,  Milan,  Italy;  Contempo- 
rary Arts  Museum,  Houston, 
Texas;  San  Francisco  Museum 
of  Art). 

Fine  Arts  Gallery,  University 
of  California,  Irvine,  1973. 

Cirrus  Gallery,  Los  Angeles, 
1974. 

Art  in  Progress,  Munich,  West 
Germany,  1974. 

Wide  White  Space  Gallery, 
Antwerp,  Belgium,  1974. 


Santa  Ana  College  Art  Gallery, 
California,  1974. 

Gemini  GEL.,  Los  Angeles, 
1975. 

Albright-Knox  Art  Gallery, 
Buffalo,  New  York,  1975. 

Art  Gallery,  University  of 
Nevada,  Las  Vegas,  1976. 

Ace  Gallery,  Los  Angeles,  1976. 

Sperone  Westwater  Fischer, 
New  York,  1976. 

Sonnabend  Gallery,  New  York, 
1976. 

Bruna  Soletti,  Milan,  Italy, 
1977. 

Minneapolis  College  of  Art 
and  Design,  Minnesota,  1978. 

InK,  Zurich,  Switzerland,  1978. 

Art  Gallery,  California  State 
University,  San  Diego,  1978. 

Galerie  Schmela,  Dusseldorf, 
West  Germany,  1979. 

Marianne  Deson  Gallery, 
Chicago,  1979. 

Portland  Center  for  the  Visual 
Arts,  Oregon,  1979. 

Hester  van  Royen  Gallery, 
London,  1979. 

Hill's  Gallery  of  Contemporary 
Art,  Santa  Fe,  New  Mexico, 
1980. 

Selected  Group  Exhibitions 

New  Directions,  San  Francisco 
Museum  of  Art,  California, 
1966. 

American  Sculpture  of  the 
Sixties,  Los  Angeles  County 
Museum  of  Art,  1967. 

Documenta  4,  Kassel,  West 
Germany,  1968. 

Three  Young  Americans,  Allen 
Memorial  Art  Museum,  Ober- 
lin,  Ohio,  1968. 

31st  Annual  Exhibition  of  Con- 
temporary American  Painting, 
Corcoran  Gallery  of  Art, 
Washington,  D.C.,  1969. 

Square  Pegs  in  Round  Holes, 
Stedelijk  Museum,  Amster- 
dam, 1969. 

When  Attitude  Becomes  Form, 
Kunsthalle  Bern,  Switzerland, 
1969. 

Anti-Illusion:  Procedures! 
Materials,  Whitney  Museum  of 
American  Art,  New  York, 
1969. 

Nine  Young  Artists,  Theodoron 
Awards,  The  Solomon  R. 
Guggenheim  Museum,  New 
York,  1969. 

Kompas  4:  West  Coast  USA, 
Stedelijk  van  Abbemuseum, 
Eindhoven,  The  Netherlands, 
1969. 

Art  by  Telephone,  Museum  of 
Contemporary  Art,  Chicago, 
1969. 


116 


Contemporary  American 
Drawings,  Fort  Worth  Art 
Center  Museum,  Texas,  1969. 

Conceptual  Art  and  Conceptual 
Aspects,  New  York  Cultural 
Center,  1970. 

N  Dimensional  Space,  Finch 
College  Art  Museum,  New 
York,  1970. 

American  Art  since  1960, 
Princeton  University  Art 
Museum,  New  Jersey,  1970. 

Information,  The  Museum  of 
Modern  Art,  New  York,  1970. 

Holograms  and  Lasers, 
Museum  of  Contemporary  Art, 
Chicago,  1970. 

Against  Order:  Chance  and 
Art,  Institute  of  Contemporary 
Art  of  the  University  of  Penn- 
sylvania, Philadelphia,  1970. 

1970  Annual  Exhibition: 
Sculpture,  Whitney  Museum 
of  American  Art,  New  York; 
7977  Biennial  Exhibition. 

Body,  New  York  University, 
1971. 

Projected  Art:  Artists  at  Work, 
Finch  College  Museum  of  Art, 
New  York,  1971. 

Air,  Stedelijk  Museum, 
Amsterdam,  1971. 

Prospect  71.  Stiidtische 
Kunsthalle  Diisseldorf,  West 
Germany,  1971. 

11  Los  Angeles  Artists,  Hay- 
ward  Gallery,  London,  1971 
(traveled  to  Musees  Royaux 
des  Beaux-Arts,  Brussels; 
Akademie  der  Kiinste,  Berlin, 
West  Germany). 

Modern  Painting,  Drawing, 
and  Sculpture  Collected  by 
Louise  and  Joseph  Pulitzer, 
Fogg  Art  Museum,  Cambridge, 
Massachusetts,  1971. 

Diagrams  and  Drawings, 
Kroller-Muller,  Otterloo,  The 
Netherlands,  1972. 

USA  West  Coast,  Kunstverein, 
Hamburg,  West  Germany,  1972 
(traveled  to  Kunstverein,  Han- 
nover; Kolnischer  Kunstverein, 
Cologne;  Wiirttembergisher 
Kunstverein,  Stuttgart). 

American  Art-Third  Quarter 
Century,  The  Seattle  Art 
Museum,  Washington,  1973. 

Idea  and  Image  in  Recent  Art, 
The  Art  Institute  of  Chicago, 
1974. 

Art  Now  74.  The  John  F.  Ken- 
nedy Center  for  the  Perform- 
ing Arts,  Washington,  DC, 
1974. 

Painting  and  Sculpture  Today: 
1974,  Indianapolis  Museum  of 
Art,  Indiana  (traveled  to  The 
Contemporary  Art  Center,  The 
Tafl  Museum,  Cincinnati, 
Ohio). 


Prints  from  Gemini  GEL., 
Walker  Art  Center,  Min- 
neapolis, Minnesota.  1974. 

ArtlVoir,  Centre  National 
d'Art  Contemporain,  Paris, 
1974. 

Lightl Sculpture,  William 
Hayes  Ackland  Memorial  Art 
Center,  University  of  North 
Carolina,  Chapel  Hill,  1975. 

Menace,  Museum  of  Contem- 
porary Art,  Chicago,  1975. 

Zeichnungen  3,  USA,  Stad- 
tiches  Museum  Leverkusen, 
West  Germany,  1975. 

Language  and  Structure  in 
North  America,  Kensington 
Art  Association  Gallery, 
Toronto,  1975. 

Body  Works,  Museum  of  Con- 
temporary Art,  Chicago,  1975. 

Sculpture,  American  Directions 
1945-197.5,  National  Collection 
of  Fine  Arts,  Smithsonian 
Institution,  Washington,  DC, 
1975. 

Drawing  Now,  The  Museum  of 
Modern  Art,  New  York,  1975. 

Autogeography,  Downtown 
Branch,  Whitney  Museum  of 
American  Art,  New  York,  1976. 

72nd  American  Exhibition  of 
Painting  and  Sculpture,  The 
Art  Institute  of  Chicago,  1976; 
73rd  American  Exhibition, 
1979. 

200  Years  of  A  merican  Sculp- 
ture, Whitney  Museum  of 
American  Art,  New  York,  1976. 

Rooms  P.S.  1,  P.S.  1,  Long 
Island  City,  New  York,  1976. 

American  Artists:  A  New  Dec- 
ade, The  Detroit  Institute  of 
Arts,  Michigan,  1976. 

The  Artist  and  the  Photograph, 
Israel  Museum,  Jerusalem, 
1976. 

Words  at  Liberty,  Museum  of 
Contemporary  Art,  Chicago, 

1977 

Painting  and  Sculpture  in 
California:  The  Modern  Era, 
San  Francisco  Museum  of 
Modern  Art,  1976  (traveled  to 
National  Collection  of  Fine 
Arts,  Smithsonian  Institution, 
Washington,  DO. 

A  View  of  a  Decade,  Museum  of 
Contemporary  Art,  Chicago, 
1977 

Drawings  for  Outdoor  Sculp- 
ture: 1946-1977,  John  Weber 
Gallery,  New  York,  1977 

Made  by  Sculptors.  Stedelijk 
Museum,  Amsterdam,  1978. 

The  Broadening  of  the  Concept 
of  Reality  in  the  Art  of  the  '60s 
and  '70s,  Museum  Haus  Lange, 
Krefeld,  West  Germany.  1979. 

Great  Big  Drawing  Show. 
Institute  for  Art  and  Urban 
Resources,  P.S.  1,  Long  Island 
City,  New  York,  1979. 


Artists  and  Books:  The  Literal 
Use  of  Time,  Ulrich  Museum 
of  Art,  Wichita  State  Univer- 
sity, Kansas,  1979. 

The  New  American  Filmmakers 
Series.  Whitney  Museum  of 
American  Art,  New  York,  1980. 

Contemporary  Art  in  Southern 
California.  The  High  Museum 
of  Art,  Atlanta,  Georgia,  1980. 

Selected  Bibliography 

Lucy  R,  Lippard,  "Eccentric 
Abstraction,"  Art  Interna- 
tional, vol.  10,  no.  9,  November 
1966,  pp.  28, 34-40. 

Fidel  A.  Danieli,  "The  Art  of 
Bruce  Nauman,"  Artforum, 
vol.  6,  no.  4,  December  1967, 
pp.  15-19. 

Maurice  Tuchman,  American 
Sculpture  of  the  Sixties,  Los 
Angeles  County  Museum  of 
Art,  1967. 

John  Perreault,  "Art,"  The  Vil- 
lage Voice,  February  8, 1968. 

Robert  Pincus-Witten,  "New 
York,"  Artforum,  vol.  6,  no.  8, 
April  1968,  pp.  63-65. 

Rachel  Griffin  and  Henry  T. 
Hopkins,  The  West  Coast  Now, 
Portland  Art  Museum,  Oregon, 
1968. 

Ellen  H.  Johnson  and  Athena 
T  Spear.  Three  Young  Ameri- 
cans, Allen  Memorial  Art 
Museum,  Oberlin.  Ohio,  1968. 

David  Whitney,  Bruce  Nauman, 
Leo  Castelli  Gallery.  New 
York,  1968. 

Max  Kozloff,  "9  in  a  Ware- 
house," Artforum,  vol.  7,  no.  6, 
February  1969,  pp.  38-42 

Scott  Burton,  "Time  on  Their 
Hands,"  Art  News,  vol.  68, 
no.  4,  summer  1969,  pp.  40-43. 

James  Harithas,  31st  Biennial 
Exhibition  of  Contemporary 
American  Painting,  Corcoran 
Gallery  of  Art,  Washington, 
D.C.,1969. 

Jean  Leering,  Kompas  4:  West 
Coast  USA,  Stedelijk  van 
Abbemuseum,  Eindhoven,  The 
Netherlands,  1969. 

Thomas  M.  Messer  and  Diane 
Waldman,  Nine  Young  Artists, 
The  Solomon  R.  Guggenheim 
Museum,  New  York,  1969. 

James  Monte  and  Marcia 
Tuclier,  Anti-Illusion:  Materialst 
Procedures,  Whitney  Museum 
of  American  Art,  New  York. 
1969. 

Peter  Plagens,  Contemporary 
American  Drawings.  Fort 
Worth  Art  Center  Mu.seum. 
Texas,  1969. 

Harold  Szeeman,  Scott  Burton, 
Gregoire  Muller,  and  Tommaso 
TVini,  Attitude  Becomes  Form, 
Kunsthalle  Bern,  Switzerland. 
1969. 


Germane  Celant,  "Bruce 
Nauman,"  Casabella  345,  vol. 
34,  February  1970,  pp.  38-41. 

Willoughby  Sharp,  "Body 
Works,"  Avalanche,  no.  1,  fall 

1970,  pp.  14-17. 

Marcia  Tucker,  "PheN AUM AN- 
ology,"  Artforum,  vol.  9,  no  4, 
December  1970,  pp.  38-44. 

Donald  Karshan,  Conceptual 
Art  and  Conceptual  Aspects, 
New  York  Cultural  Center, 
New  York,  1970. 

Ky naston  L.  McShine,  Informa- 
tion, The  Museum  of  Modern 
Art,  New  York,  1970. 

Roliert  Pincus-Witten,  Again.sl 
Order:  Chance  and  Art,  Insti- 
tute of  Contemporary  Art  of 
the  University  of  Pennsylvania, 
Philadelphia,  1970. 

Elayne  H.  Varian,  N  Dimen- 
sional Space,  Finch  College  Art 
Museum,  New  York,  1970. 

Cindy  Nemser,  "Subject-Object 
Body  Art,"  Arts  Magazine,  vol. 
46,  no.  1,  September- October 

1971,  p.  .38. 

Emily  S.  Rauh,  "Bruce 
Nauman,"  Modern  Painting, 
Drawing,  and  Sculpture  Col- 
lected by  Louise  and  Joseph 
Pulitzer,  Fogg  Art  Museum. 
Cambridge,  Massachusetts, 
1971. 

Maurice  Tbchman  and  Jane 
Livingston.  11  Los  Angeles 
Artists.  Hayward  Gallery, 
London, 1971 

Robert  Pincus-Witten,  "Bruce 
Nauman:  Another  Kind  of 
Reasoning,"  Artforum,  vol.  10, 
no.  6,  February  1972,  pp.  .30-37. 

Bruce  Kurtz.  "Interview  with 
Giuseppe  Panza  di  Biumo," 
Arts  Magazine,  vol.  46,  no.  5, 
March  1972,  pp.  40-43. 

Carter  Ratcliff,  "Adversary 
Spaces,"  Artforum,  vol.  11,  no. 
2,  October  1972,  pp.  40-44. 

Jane  Livingston  and  Marcia 
Tucker,  Bruce  Nauman:  Work 
from  1965  to  1972.  Los  Angeles 
County  Museum  of  Art,  1972. 

Helmut  Heissenbiittel  and 
Holene  Winer.  USA  West 
Coast,  Kun.stverein,  Hamburg, 
West  Germany,  1972. 

Peter  Plagens,  "Roughly  Or- 
dered Thoughts  on  the  Occa- 
sion of  the  Bruce  Nauman 
Retro.spective  in  Los  Angeles," 
Artforum,  vol.  11,  no.  7,  March 
1973,  pp.  57-59. 

Paul  Stitelman, "Bruce  Nauman 
at  the  Whitney  Museum,"  Arts 
Magazine,  vol.  47,  no.  7,  May 
1973,  pp.  54-55. 

Kim  Levin,  "Bruce  Nauman: 
Stretching  the  TVuth,"  Opus 
International,  no.  46,  September 
1973,  pp.  44-46. 


Hein  Reedijk,  "Bruce  Nauman: 
Kunst  voor  navelstaarders?" 
Museumjournal,  vol,  18, 
no.  4,  September  1973, 
pp.  154-59. 

Jiirgen  Harten,  "T  for  Technics, 
B  for  Body,"  Art  and  Artifils. 
vol.  8,  no.  8,  November  1973, 
pp.  28-33. 

Barbara  Catoir,  "Uber  den 
subjektivismus  bei  Bruce 
Nauman,"  Kunstwerk,  vol.  26, 
no.  6,  November  1973, 
pp.  3-12. 

Jean  Marc  Poinsot,  "Bruce 
Nauman:  La  problematique  du 
nonsens,"  An  Press,  no.  10, 
March- April  1974,  pp.  12-15 

Philip  Larson,  "Words  in  Print," 
Print  Collector's  Newsletter. 
vol.  5,  no.  3,  July- August 

1974,  pp.  53-56. 

M.  Schneckenburger, 
"Wahrnehmung,  Dingfest 
Gemacht:  ein  Problemkreia 
um  Chuck  Close  und  Bruce 
Nauman  in  der  Ausstellung 
'Projekt  74,'  "  Museen  in  Koln, 
vol.  13,  no.  8,  August  1974, 
pp.  262-63. 

Philip  Larson,  Prints  from 
Gemini  GEL.:  Johns.  Kelly, 
Lichtenstein,  Motherwell . 
Nauman,  Rauschenberg,  Serra. 
Stella,  Walker  Art  Center, 
Minneapolis,  Minnesota,  1974. 

Frangois  Pluchart,  "L'art  cor- 
porel,"  Artitudes  International. 
vol.  18,  no.  20,  January- March 

1975,  pp.  49-96. 

Jan  Butterfield,  "Bruce  Nauman: 
the  Center  of  Yourself,"  Arts, 
vol.  49,  no.  6,  February  1975, 
pp.  53-55. 

Tom  Marioni,  "Out  Front," 
Vision,  no.  1,  September  1975, 
pp.  8-11. 

Bruce  Nauman,  "False 
Silences,"  Vision,  no.  1,  Sep- 
tember 1975,  pp.  44-45. 

R.  Goldberg,  "Space  as  Praxis," 
Studio  International,  vol.  190, 
no.  977,  September- October 

1975,  pp.  130-35. 

N.  Calas,  Mirrors  of  the  Mind, 
Multiples,  Inc.,  Castelli 
Graphics,  1975. 

Trudy  Zandee,  "Kunstkritiek 
en  de  veelzijde  lijfelijkheid 
van  Body  Art,"  Museumjour- 
nal, vol.  21,  no.  1,  February 

1976,  pp.  97-106. 

Carter  Ratcliff,  "Notes  on 
Small  Sculpture,"  Artforum, 
vol.  14,  no.  8,  April  1976, 
pp.  35-42. 

\.  Wiegand,  "Video  Shock," 
Print,  vol.  30,  no.  4,  July- 
August  1976,  pp.  63-69. 

A.  Mclntyre,  "L'Art  corporel 
(Body  Art),"  Art  and  Australia, 
vol.  14,  no.  1,  July-September 
1976,  pp.  74-78. 

118 


M.  Bloem,  "La  photographie, 
lieu  dune  experience  artis- 
tique  nouvelle,"  Art  Actuel: 
Skira  Annuel,  vol.  2, 1916, 
pp.  147-A. 

Germano  Celant,  Sema  titolo 
1974,  Rome,  1976. 

Jeff  Perrone,  "Reviews,"  Art- 
forum ,  vol.  15,  no.  5,  January 
1977,  pp.  58-62. 

Jeff  Perrone,  "Words:  When 
Art  Takes  a  Rest,"  Artforum, 
vol.  15,  no.  10,  summer  1977, 
p.  37. 

Robert  Pincus-Witten,  Post- 
minimalism,  New  York,  1977. 

Marc  Treib,  "Architecture 
Versus  Architecture:  Is  an 
Image  a  Reality?"  Architec- 
tural Association  Quarterly, 
vol  9,  no  4, 1977,  pp.  3-14. 

Eric  Cameron,  "On  Painting 
and  Video  (Upside  Down)," 
Parachute,  summer  1978, 
pp.  14-17 

Jiirgen  Schilling,  "Zur  Entwick- 
lungsgeschichte  der  Perfor- 
mance," Heute  Kunst,  no.  25, 
March- April  1979,  pp.  22-23. 

"Bruce  Nauman,"  interview 
by  Michelle  D.  De  Angelus, 
Archives  of  American  Art, 
Smithsonian  Institution, 
Washington,  DC,  May  1980. 


Kenneth  Price 

Born  in  Los  Angeles,  1935; 
moved  to  Taos,  New  Mexico, 
1971;  lives  in  Taos. 

Studied  at  Chouinard  Art  In- 
stitute, Los  Angeles,  1956;  Los 
Angeles  City  College,  1956; 
B.F.A.,  University  of  Southern 
California,  1956;  M.FA.,  State 
University  of  New  York, 
Alfred,  1959. 

Selected  One-Man 
Exhibitions 

Ferus  Gallery,  Los  Angeles, 
1960, 1961, 1964. 

Kasmin  Gallery,  London,  1968, 

1970. 

Riko  Mizuno  Gallery,  Los 
Angeles,  1969, 1971 

Whitney  Museum  of  American 
Art,New  York,  1969. 

Gemini  GEL.,  Los  Angeles, 
1970, 1972. 

David  Whitney  Gallery,  New 
York,  1971. 

Galerie  Neuendorf,  Cologne, 
West  Germany,  1971. 

Galerie  Neuendorf,  Hamburg, 
West  Germany,  1973. 

Nicholas  Wilder  Gallery,  Los 
Angeles,  1973. 

Felicity  Samuel  Gallery, 
London,  1974. 

Willard  Gallery,  New  York, 
1974, 1979. 

Ronald  Greenberg  Gallery, 
St.  Louis,  Missouri,  1976. 

James  Corcoran  Gallery,  Los 
Angeles,  1976, 1980. 

Los  Angeles  County  Museum 
of  Art,  1978. 

Gallery  of  Contemporary  Art, 
'ftios.  New  Mexico,  1978. 

Tfexas  Gallery,  Houston,  1979, 
1980. 

Hansen  Fuller  Goldeen  Gal- 
lery, San  Francisco,  1979. 

Contemporary  Arts  Museum, 
Houston,  Texas,  1980. 

Visual  Arts  Museum,  New 
York, 1980. 

Selected  Group  Exhibitions 

Fifty  California  Artists,  Whit- 
ney Museum  of  American  Art, 
New  York,  1962. 

Sculpture  of  California,  Oak- 
land Art  Museum,  California, 
1963. 

Boxes,  Dwan  Gallery,  Los 
Angeles,  1964. 

New  American  Sculpture, 
Pasadena  Art  Museum, 
California,  1964. 

Robert  IrwinlKenneth  Price, 
Los  Angeles  County  Museum 
of  Art,  1966. 


Ten  from  Los  Angeles,  Seattle 
Art  Museum,  Washington,  1966. 

Five  Los  Angeles  Sculptors 
and  Sculptors'  Drawings,  Uni- 
versity of  California,  Irvine, 
1966. 

Abstract  Expressionist 
Ceramics,  University  of 
California,  Irvine,  1966 

American  Sculpture  of  the 
Sixties,  Los  Angeles  County 
Museum  of  Art,  1967. 

Late  Fifties  at  the  Ferus,  Los 
Angeles  County  Museum  of 
Art,  1968. 

Kompas  4:  West  Coast  USA, 
Stedelijk  van  Abbemuseum, 
Eindhoven,  The  Netherlands, 
1969. 

Contemporary  American 
Drawings,  Fort  Worth  Art 
Center  Museum,  Texas,  1969. 

West  Coast  1945-1969, 
Pasadena  Art  Museum, 
California,  1969  (traveled  to 
City  Art  Museum  of  St.  Louis, 
Missouri;  Art  Gallery  of 
Ontario,  Toronto;  Fort  Worth 
Art  Center  Museum, Texas). 

Graphics:  Six  West  Coast 
Artists,  Galleria  Milano, 
Italy,  1969. 

BengstonlPrice,Jame  C.  Lee 
Gallery,  Dallas,  Texas,  1970. 

Contemporary  American 
Sculpture,  Whitney  Museum  of 
American  Art,  New  York,  1970. 

A  Decade  of  California  Color. 
Pace  Gallery,  New  York,  1970. 

Contemporary  Ceramic  Art, 
National  Museum  of  Modern 
Art,  Kyoto,  Japan,  1971. 

U  Los  Angeles  Artists,  Hay- 
ward  Gallery,  London,  1971 
(traveled  to  Musees  Royaux 
des  Beaux-Arts,  Brussels; 
Akademie  der  Kiinste,  Berlin, 
West  Germany). 

USA  West  Coast,  Kunstverein, 
Hamburg,  West  Germany, 
1972  (traveled  to  Kunstverein, 
Hannover;  Kolnischer  Kunst- 
verein, Cologne;  Wiirttem- 
bergisher  Kunstverein, 
Stuttgart). 

Contemporary  American  Art: 
Los  Angeles,  Fort  Worth  Art 
Center  Museum,  Texas,  1972. 

Joe  Goode.  Kenneth  Price, 
Edward  Ruscha,  Museum 
Boymans-van  Beuningen, 
Rotterdam,  The  Netherlands, 
1972. 

Clay,  Whitney  Museum  of 
American  Art,  New  York,  1974. 

Sculpture:  American  Directions, 
1945-1975 ,  National  Collection 
of  Fine  Arts,  Smithsonian  Inst., 
Washington,  D.C.,  1975. 

200  Years  of  American  Sculp- 
ture. Whitney  Museum  of 
American  Art,  New  York,  1976. 


Painting  and  Sculpture  in 
California:  The  Modern  Era, 
San  Francisco  Museum  of 
Modern  Art,  1976  (traveled  to 
National  Collection  of  Fine 
Arts,  Smithsonian  Institution, 
Washington,  DC.) 

The  Last  Time  I  Saw  Ferus: 
1957-1966,  Newport  Harbor 
Art  Museum,  Newport  Beach, 
California,  1976. 

Nine  West  Coast  Clay  Sculptors, 
Everson  Museum  of  Art, 
Syracuse,  New  York,  1978. 

One  Hundred  Years  of  American 
Ceramics.  Everson  Museum  of 
Art,  Syracuse,  New  York,  1979. 

Contemporary  Sculpture,  The 
Museum  of  Modern  Art,  New 
York,  1979. 

Directions,  Hirshhorn  Museum 
and  Sculpture  Garden, 
Washington,  DC,  1979. 

West  Coast  Clay,  Stedelijk 
Museum,  Amsterdam,  1979. 

One  Space/Three  Visions, 
Albuquerque  Museum,  New 
Mexico,  1979. 

The  Vessel,  Delahunty  Gallery, 
Dallas,  Texas,  1980. 

1981  Biennial  Exhibition, 
Whitney  Museum  of  American 
Art,  New  York. 

Selected  Bibliography 

Jules  Langsner,  "Painting  and 
Sculpture:  the  Los  Angeles 
Season,"  Craft  Horizons,  vol. 
22,  no.  41,  July/August  1962, 
pp.  40-41. 

John  Coplans,  "Los  Angeles: 
The  Scene,"  Art  News,  vol.  64, 
no.  57,  March  1965,  p.  28. 

John  Coplans,  Ten  from  Los 
Angeles,  Seattle  Art  Museum, 
Washington,  1966. 

John  Coplans,  A  6s/ rac^£«prcs- 
swnist  Ceramics,  University 
of  California,  Irvine,  1966. 

Lucy  R.  Lippard,  Robert  Irwin! 
Kenneth  Price,  Los  Angeles 
County  Museum  of  Art,  1966. 

David  Thompson,  "London 
Commentary:  Kenneth  Price 
at  Kasmin,"  Studio  Interna- 
tional, vol.  175,  no.  899,  April 

1968,  pp.  199-200. 

Jane  Livingston,  "Two  Gener- 
ations in  Los  Angeles,"  Art  in 
America,  vol.  57,  no.  1,  January/ 
February  1969,  pp.  92-97. 

Dore  Ashton,  "New  York  Com- 
mentary," S/urfio/n/erna/iona/, 
vol.  178,  no.  177,  November 

1969,  pp.  176-77. 

Jean  Leering,  Kompas  4:  West 
Coast  t/SA,  Stedelijk  van 
Abbemuseum,  Eindhoven,  The 
Netherlands,  1969. 

Maurice  Tuchman  and  Jane 
Livingston,  U  Los  Angeles 
Artists,  Hayward  Gallery, 
London,  1971. 


Carter  Ratcliff,  "Notes  on 
Small  Sculpture,"  Artforum, 
vol.14,  no.  38,  April  1976, 
pp.  35-42. 

Sandy  Ballatore,  "California 
Clay  Rush,"  Art  in  America, 
vol.  64,  no.  84,  July/ August 
1976,  pp.  84-88. 

Betty  Turnbull,  The  Last  Time 
I  Saw  Ferus:  1957-1966.  New- 
port Harbor  Art  Museum, 
Newport  Beach,  California, 
1976. 

Maurice  Tuchman,  Ken  Price: 
Happy's  Curios,  Los  Angeles 
County  Museum  of  Art,  1978. 

Addison  Parks,  "Ken  Price," 
Arts  Magazine,  vol.  54,  no.  5, 
January  1980,  p.  40. 

Joan  Simon,  "An  Interview 
with  Ken  Price"  Art  in  America, 
vol.  68,  no.  I.January  1980, 
pp.  98-104. 

"Kenneth  Price,"  interview  by 
Michele  D.  De  Angelus, 
Archives  of  American  Art, 
Smithsonian  Institution, 
Washington,  DC,  May  1980. 


Edward  Ruscha 

Born  in  Omaha,  Nebraska, 
1937;  moved  to  I^s  Angeles, 
1956;  lives  in  Los  Angeles. 
Attended  Chouinard  Art  Insti- 
tute, Los  Angeles,  1956-60. 

Selected  One-Man 
Exhibitions 

Ferus  Gallery,  Los  Angeles, 
1963, 1964, 1965. 

Alexander  lolas  Gallery,  New 
York,  1967, 1970. 

Irving  Blum  Gallery,  Los 
Angeles,  1968, 1969. 

Rudolf  Zwirner,  Cologne, 
West  Germany,  1968. 

Alexander  lolas  Gallery,  Paris, 
1970. 

Heiner  Friedrich,  Munich, 
West  Germany,  1970. 

Nigel  Greenwood,  London, 
1970, 1973. 

University  of  California,  Santa 
Cruz,  1972. 

Janie  C.  Lee  Gallery,  Dallas, 
Texas,  1972. 

Corcoran  &  Corcoran  Gallery, 

Miami,  Florida,  1972. 

Minneapolis  In.stitute  of  Arts, 
Minnesota,  1972. 

Leo  Castelli  Gallery,  New 
York, 1973, 1974, 1980. 

University  of  California,  San 
Diego,  1973. 

Galleria  Francjoise  Lambert, 
Milan,  Italy,  1973, 1974. 

John  Berggruen  Gallery,  San 
Franci-sco,  1973. 

Ace  Gallery,  Los  Angeles,  1973, 
1975, 1977. 

The  Texas  Gallery,  Houston, 
1974. 1979. 

H.  Peter  Findlay/ Works  of  Art, 
New  York,  1974. 

Galerie  Ricke.  Cologne.  West 
Germany,  1975, 1978. 

Sable-Castelli  Gallery  Ltd., 
Tbronto,  1975, 1976. 

University  of  North  Dakota, 
Grand  Forks,  1975. 

The  Arts  Council  of  Great 
Britain  (traveled  throughout 
Great  Britain).  1975-76. 

Ace  Gallery,  Vancouver,  British 
Columbia,  1976. 

Los  Angeles  Institute  of 
Contemporary  Art,  1976. 

Wadsworth  Athenaeum, 
Hartford,  Connecticut,  1976. 

Stedelijk  Museum,  Amsterdam, 
1976. 

Albright-Knox  Art  Gallery, 
Buffalo,  New  York,  1976. 

Institute  of  Contemporary  Art. 
London. 1976 


University  of  Lethbridge. 
Alberta.  Saskatchewan.  1977. 

Fort  Worth  Art  Museum, 
Texas,  1977 

MTL  Gallery,  Brussels,  1978. 

Rudiger  Schottle,  Munich, 
West  Germany,  1978. 

University  of  Redlands, 
California,  1978. 

Auckland  City  Art  Gallery, 
New  Zealand,  1978 

Getler/Pall,  New  York.  1978. 

Richard  Bines  Gallery. 
Seattle,  Washington,  1979. 

InK,  Zurich,  Switzerland, 

1979 

Portland  Center  for  the  Visual 
Arts,  Oregon,  1980. 

Arco  Center  for  Visual  Art, 
Los  Angeles.  1981. 

Selected  Group  Exhibitions 

New  Painting  of  Common 
Objects,  Pasadena  Art 
Museum,  California.  1962. 

Six  More,  Los  Angeles  County 
Museum  of  Art,  1963. 

Pop  Art  L'.SA,  Oakland  Art 
Museum,  California,  1963. 

Word  and  Image,  The 
Solomon  R.  Guggenheim 
Museum,  New  York.  1965. 

Pop  Art  and  the  American 
Tradition,  Milwaukee  Art 
Center.  Wisconsin,  1965. 

5  at  Pace,  Pace  Gallery,  New 
York.  1965. 

Ten  from  Los  Angeles,  Seattle 
Art  Museum.  Washington. 
1966. 

Los  A  ngeles  Now,  Robert 
Fraser  Gallery.  London.  1966. 

IX  Bienal  de  Sao  Paulo.  Brazil. 
1967. 

V  Paris  Biennale.  Musee  d'Art 
Moderne  de  la  Ville  de  Paris, 
1967. 

Ed  Ruscha-Joe  Goode,  The 
Fine  Arts  Patrons  of  Newport 
Harbor,  Balboa  Pavilion  Gal- 
lery, California.  1968. 

40  Now  California  Painters, 
Tampa  Bay  Art  Center,  Tampa, 
Florida,  1968. 

West  Coast  Now.  Portland  Art 
Museum,  Oregon.  1968. 

Three  Modern  Master.i:  Billy 
Al  Bengston,  Edward  Ruscha, 
Frank  Lloyd  Wright.  Gallery 
Reese  Palley,  San  Francisco, 
1969. 

Kompas  4:  West  Coast  USA, 
Stedelijk  van  Abbemuseum, 
Eindhoven.  The  Netherlands, 
1969. 

Pop  Art  Redefined,  Hayward 
Gallery,  London,  1969. 


West  Coast  1945-1969. 
Pasadena  Art  Museum, 
California,  1969  (traveled  to 
City  Art  Museum  of  St.  Louis, 
Missouri;  Art  Gallery  of 
Ontario,  Toronto;  Fort  Worth 
Art  Center  Museum,  Texas). 

Graphics:  Six  West  Coast  Art- 
ists. Galleria  Milano,  Italy, 
1969. 

Superlimited:  Books,  Boxes, 
and  Things,  The  Jewish 
Mu.seum,  New  York,  1969. 

The  Highway,  Institute  of 
Contemporary  Art  of  the 
University  of  Pennsylvania, 
Philadelphia,  1970. 

The  Wore/ a.s /mage.  The  Jewish 
Museum,  New  York,  1970. 

Information,  The  Museum  of 
Modern  Art,  New  York,  1970. 

Venice  Biennale,  Italy,  1970. 

Looking  West  i970,  Joslyn  Art 
Museum,  Omaha,  Nebraska, 
1970. 

A  Decade  of  California  Color, 
Pace  Gallery,  New  York,  1970 

32nd  Biennial  Exhibition  of 
Contemporary  American 
Painting,  Corcoran  Gallery  of 
Art,  Washington,  D.C.,  1971. 

Made  in  California,  Grunwald 
Center  for  the  Graphic  Arts, 
University  of  California,  Los 
Angeles,  1971. 

Continuing  Surrealisryt,  La 
JoUa  Museum  of  Contempo- 
rary Art,  California,  1971. 

//  Los  Angeles  Artists,  Hay- 
ward  Gallery,  London,  1971 
(traveled  to  Musees  Royaux 
des  Beaux-Arts,  Brussels; 
Akademie  der  Kiinste,  Berlin, 
West  Germany). 

Joe  Goode.  Kenneth  Price  en 
Edward  Ruscha:  Grafiek  en 
Boeken,  Museum  Boymans- 
van  Beuningen,  Rotterdam, 
The  Netherlands,  1972. 

Artists'  Books.  Moore  College 
of  Art,  Philadelphia,  1973. 

American  Drawing,  1970- 
197.3,  Yale  University  Art  Gal- 
lery, New  Haven,  Connecticut, 
1973. 

American  Pop  Art,  Whitney 
Museum  of  American  Art, 
New  York,  1974. 

California  Images,  Whitney 
Museum  of  American  Art, 
New  York,  1976. 

The  Last  Time  I  Saw  Ferus, 
1957-1966,  Newport  Harbor 
Art  Museum,  Newport  Beach, 
California,  1976. 

The  Artist  and  the  Photo- 
graph, Israel  Museum, 
Jerusalem,  1976. 


120 


Painting  and  Sculpture  in 
California:  The  Modern  Era, 
San  Francisco  Museum  of 
Modern  Art,  San  Francisco, 
1976  (traveled  to  National 
Collection  of  Fine  Arts, 
Smithsonian  Institution, 
Washington,  D.C.). 

Thirty  Years  of  American 
Prinlmaking,  The  Brooklyn 
Museum,  New  York,  1976. 

Ed  Ruscha.  Joe  GoodelNew 
Drawings,  Laguna  Gloria  Art 
Museum,  Austin,  Texas,  1977. 

The  Dadal Surrealist  Heritage, 
Sterling  and  Francine  Clark 
Art  Institute,  Williamstown, 
Massachusetts,  1977. 

Bookworks,  The  Museum  of 
Modern  Art,  New  York,  1977. 

Words  Words,  Mu.seum 
Bochum,  West  Germany,  1978. 

Mirrors  and  Windows:  Ameri- 
can Photography  since  1960, 
The  Museum  of  Modern  Art, 
New  York,  1978. 

American  Painting  of  the 
1970s,  Albright-Knox  Art  Gal- 
lery, Buffalo,  New  York,  1978. 

Graphicstudio  U.S. F., The 
Brooklyn  Museum,  New  York, 
1978. 

73rd  American  Exhibition  of 
Painting  and  Sculpture.  The 
Art  Institute  of  Chicago,  1979. 

The  Decade  in  Review:  Selec- 
tions from  the  1970s,  Whitney 
Mu.seum  of  American  Art, 
New  York,  1979. 

Reflections  of  Realism, 
Albuquerque  Museum, 
New  Mexico,  1979. 

Artists  and  Books:  The  Literal 
Use  of  Time,  Edwin  A.  Ulrich 
Museum  of  Art,  Wichita  State 
University,  Kansas,  1979. 

Contemporary  Art  in  Southern 
California,  The  High  Museum 
of  Art,  Atlanta,  Georgia,  1980. 


Selected  Bibliography 

John  Coplans.  "The  New 
Painting  of  Common  Objects," 
Artforum,vo\.  1,  no.  6,  Decem- 
ber 1962,  pp.  26-29. 

Lawrence  AUoway,  Six  More, 
Los  Angeles  County  Museum 
of  Art,  1963. 

John  Coplans,  Pop  Aw  USA, 
Oakland  Art  Museum, 
California,  1963. 

Philip  Leider,  "Revealing 

Juxtapositions,"  Frontier, 
vol.  16,  no.  2,  December  1964, 
pp.  25-26. 

John  Coplans,  "An  Interview 
with  Edward  Ruscha," 
Artforum,  vol.  3,  no.  5,  Feb- 
ruary 1965,  pp.  24-25. 

John  Coplans,  Ten  from  Los 
Angeles,  Seattle  Art  Museum, 
Washington,  1966. 


Lucy  R.  Lippard,  Pop  Art,  New 
York,  1966. 

Christopher  Finch,  "Scanning 
the  Strip,"  Art  and  Artists,  vol. 
1,  no.  10,  January  1967,  p.  67. 

Lawrence  Alloway,  "Hi-Way 
Culture:  Man  at  the  Wheel," 
Arts  Magazine,  vol.  41,  no.  1, 
February  1967,  pp.  28-33. 

Henry  T  Hopkins,  Joe  Goode 
and  Edward  Ruscha,  The  Fine 
Arts  Patrons  of  Newport  Har- 
bor. Balboa  Pavilion  Gallery, 
California,  1968. 

Carol  Lynsley,  Three  Modern 
Masters:  Edward  Ruscha, 
Billy  Al  Bengston,  Frank 
Lloyd  Wright,  Gallery  Reese 
Palley,  San  Francisco,  1969. 

John  Russell  and  Suzi  Gablik, 
Pop  Art  Redefined,  London, 
1969. 

Christopher  Fox,  "Ed  Ruscha 
Discusses  His  Latest  Work 
with  Christopher  Fox,"  Studio 
International,  vol.  180,  no.  923, 
May-June  1970,  p.  281,  287. 

Robert  Venturi  and  Denise 
Scott  Brown,  The  Highway, 
Institute  of  Contemporary  Art 
of  the  University  of  Pennsyl- 
vania, Philadelphia,  1970. 

David  Bourdon,  "A  Heap  of 
Words  about  Ed  Ruscha."  Art 
International,  vol.  15,  no.  9, 
November  1971,  p.  25. 

Robert  Colaciello,  "Art:  Inter- 
view with  Ed  Ruscha,"  Inter- 
view, no.  20,  March  1972,  p.  42. 

David  Bourdon,  "Ruscha  as 
Publisher  (or  All  Booked  Up)," 
Art  News,  vol.  71,  no.  2,  April 

1972,  pp.  32-36. 

Ursula  Meyer,  Conceptual  Art, 
New  York.  1972. 

Eleanor  Antin,  "Reading 
Ruscha,"  An  in  America,  vol. 
61,  no.  6,  November- December 

1973,  pp.  64-71. 

Carl  R  Baldwin,  "On  the  Na- 
ture of  Pop,"  Artforum,  vol.  12, 
no,  10,  June  1974,  pp.  34-37. 

Lawrence  Alloway,  American 
Pop  Art,  Whitney  Museum  of 
American  Art,  1974 

Reyner  Banham,  Edward 
Ruscha  Prints  and  Publications 
1962-1974,  The  Arts  Council 
of  Great  Britain,  1975-76. 

Nancy  Foote,  "The  Anti- 
Photographers,"  Artforum,  vol. 
15,  no.  1,  September  1976, 
pp.  46-54. 

Linda  L.  Cathcart,  Paintings, 
Drawings,  and  Other  Work  by 
Edward  Ruscha,  Albright- 
Knox  Art  Gallery,  Buffalo, 
New  York,  1976. 

Hugh  M.  Davies,  Critical  Per- 
spectives in  American  Art, 
University  of  Massachusetts, 
Amherst,  1976. 


Howardena  PindeW,  Edward 
Ruscha  (interview),  Stedelijk 
Museum,  Amsterdam,  1976. 

Diane  Spodarek,  "Feature 
Interview:  Edward  Ruscha," 
Detroit  Artists  Monthly,  vol.  2, 
no.  4,  April  1977,  pp.  1-5. 

Jeff  Perrone.  "  'Words':  When 
Art  Takes  a  Rest,"  Artforum, 
vol.  15,  no.  10,  summer  1977, 
p.  36. 

Sam  Hunter,  The  DadalSur- 
realist  Heritage,  Sterling  and 
Francine  Clark  Art  Institute, 
Williamstown,  Massachusetts, 
1977. 

Jonathan  Crary,  "Edward 
Ruscha's  'Real  Estate  Oppor- 
tunities,' "  Arts  Magazine, 
vol.  52,  no.  5,  January  1978, 
pp.  119-21. 

Gene  Baro,  Graphicstudio 
U.S.F.,  The  Brooklyn  Museum, 
New  York,  1978. 

Andrew  Bogle,  Graphic  Works 
by  Edward  Ruscha,  Auckland 
City  Art  Gallery,  New  Zea- 
land, 1978. 

Trina  Mitchum,  "A  Conver- 
sation with  Ed  Ruscha, "  Jour- 
nal, Los  Angeles  Institute  of 
Contemporary  Art,  no.  21. 
January- February  1979. 
pp.  21-24. 

Susan  B.  Laufer,  "Ruscha's 
Books  and  Seriality," 
L=A=N  =  G  =  U=A=G=E, 
no.  7,  March  1979. 

Judith  L.  Dunham,  "Ed 
Ruscha's  Paintings,"  Artweek, 
vol.  10,  no.  16,  April  1979,  p.  4. 

Edward  Ruscha,  Guacamole 
Airlines  and  Other  Drawings, 
New  York.  1980. 

"Ed  Ruscha  on  V-Various 
S-Subjects"  (interview).  Stuff 
Magazine,  no.  24,  June  1980, 
pp.  20-21. 

"Edward  Ruscha,"  interview  by 
Paul  Karlstrom,  Archives  of 
American  Art,  Smithsonian 
Institution,  Washington,  D.C., 
October  1980. 


Peter  Voulkos 

Born  in  Bozeman,  Montana. 
1924;  resident  of  Los  Angeles. 
1954-59;  lives  in  Berkeley. 
California. 

B.S.,  Montana  State  College, 
Bozeman.  1951;  M.F.A., 
California  College  of  Arts  and 
Crafts.  Oakland.  1952. 

Selected  One-Man 
Exhibitions 

America  House,  New  York. 
1952 

Gump's  Gallery,  San  Francisco, 
1952, 1954. 

University  of  Florida,  Gaines- 
ville, 1953. 

Oregon  Ceramic  Studio. 
Portland,  1953. 

Scripps  College,  Claremont, 
California,  1954. 

Felix  Landau  Gallery.  Los 
Angeles.  1956, 1958, 1959. 

University  of  Southern 
California,  Los  Angeles,  1957. 

Bonniers,  New  York,  1957. 

The  Art  Institute  of  Chicago, 
1957 

Pasadena  Art  Museum. 
California,  1958. 

Penthouse  Gallery,  The 
Museum  of  Modern  Art,  New 
York, 1960. 

Primus-Stuart  Galleries,  Los 
Angeles,  1961. 

Art  Unlimited  Gallery.  Los 
Angeles,  1964. 

Los  Angeles  County  Museum 
of  Art,  1965. 

David  Stuart  Galleries,  Los 
Angeles,  1967 

Quay  Gallery,  San  Francisco, 
1968, 1974. 

San  Francisco  Museum  of  Art. 
1972. 

Pasadena  City  College, 
California,  1973. 

Kemper  Gallery,  Kansas  City 
Art  Institute,  Missouri,  1975. 

Helen  Drutt  Gallery,  Philadel- 
phia, 1975. 

Fendrick  Gallery,  Washington, 
DC,  1975. 

Braunstein/Quay  Gallery, 
New  York,  1975. 

Yaw  Gallery,  Birmingham, 
Michigan,  1976. 

Exhibit  A  Gallery  of  American 
Ceramics,  Evanston,  Illinois, 
1976,  1979. 

Contemporary  Crafts  Associa- 
tion, Portland,  Oregon,  1977. 

Braun.stein/Quay  Gallery,  San 
Francisco,  1978. 


The  Mu.seum  of  Contemporary 
Crafts  of  the  American  Crafts 
Council,  New  York,  1978  (retro- 
spective; traveled  to  San  Fran- 
cisco Mu.seum  of  Modern  Art; 
Contemporary  Arts  Mu.seum, 
Houston,  Texas;  Milwaukee 
Art  Center,  Wisconsin* 

Foster/White  Gallery,  Seattle, 

Washington,  1979. 

Hill's  Gallery  of  Contemporary 

Art,  Santa  Fe,  New  Mexico, 

1979 

Okun-Thonias  Gallery,  St. 

Louis.  Missouri.  1980. 

Morgan  Gallery.  Kansas  City, 
Missouri,  1980. 

Charles  Cowles  Gallery,  New 
York,  1981. 

Selected  Group  Exhibitions 

Exposition  Uniuerselle  el  In- 
ternationale de  Bruxelles, 
Brussels,  1958. 

Amerikaninche  Keraniik  19601 
1962,  Third  International 
Ceramic  Exhibition,  Prague, 
1962. 

Molten  Image:  7  Sculptors, 
San  Francisco  Museum  of  Art, 
1962. 

Creative  Casting,  Museum  of 
Contemporary  Crafts,  New 
York,  1963. 

International  Exhibition  of 
Contemporary  Ceramic  Art, 
National  Museum  of  Modern 
Art,  Tokyo,  1964. 

Abstract  Expressionist 
Ceramics,  Art  Gallery,  Uni- 
versity of  California.  Irvine, 
1966. 

American  Sculpture  of  the 
Sixties,  Los  Angeles  County 
Museumof  Art,  1967. 

Kompas  4:  V/est  Coast  USA. 
Stedelijk  van  Abbemuseum. 
Eindhoven.  The  Netherlands, 
1969. 

Expo  70,  San  Francisco  Pavil- 
ion, Osaka,  Japan,  1970. 

A  Decade  of  Ceramic  Art, 
1962-1972,  from  the  Collection 
of  Profes,sor  and  Mrs.  R. 
Joseph  Monsen,  San  Francisco 
Museum  of  Art,  1972. 

Painting  and  Sculpture  in 
California:  The  Modern  Era, 
San  Francisco  Museum  of 
Modern  Art,  1976  (traveled  to 
National  Collection  of  Fine 
Arts,  Smithsonian  Institution, 
Washington,  D.C.). 

200  Year.i  of  American 
Sculpture,  Whitney  Museum 
of  American  Art,  New  York, 
1976. 

Turnerl Voulkos,  Illinois  State 
University,  Normal.  1978. 


Selected  Bibliography 

Conrad  Brown,  "Peter  "Voulko.s, 
Southern  California's  Top 
Potter,"  Craft  Horizons,  vol.  16, 
no.  5,  September/October  1956, 
pp.  12-18. 

Dore  Ashton,  "New  Talent 
Exhibition  at  The  Museum  of 
Modern  Art,"  Craft  Horizons, 
vol.  20,  no.  2,  March/April 

1960,  p  42 

Rose  Slivka,  "The  New  Ceramic 
Presence,"  Craft  Horizons, 
vol.  21,  no.  4,  July/August 

1961,  p.  31. 

Jules  Langsner,  "Abstract 
Sculptures  at  the  Primus- 
Stuart  Galleries  in  Los 
Angeles,"  Craft  Horizons,  vol 
22,  no.  1,  January/February 

1962,  pp.  39-40. 

Philip  Leider,  "West  Coast  Art: 
Three  Images,"  j4r(/bri/m,  vol. 

1,  no.  12,  June  1963,  pp.  21-25. 

John  Coplans,  "Sculpture  in 
California,"  Artforum,  vol.  2, 
no,  2,  August  1963,  pp.  ,3-6. 

Joanna  Magloff,  "Peter  Voul- 
kos." Artforum,  vol.  2,  no.  2, 
August  1963,  p.  29. 

John  Coplans,  "Out  of  Clay: 
West  Coast  Ceramic  Sculpture 
Emerges  as  a  Strong  Regional 
Trend,"  Art  in  America,  vol.  51, 
no.  6,  December  1963,  p,  40. 

Bernard  Pyron,"The  Tao  and 
Dada  of  Recent  American 
Ceramic  Art,"  Artforum,  vol. 

2,  no.  9,  March  1964,  pp  41-42. 

John  Coplans.  "Circle  of  Styles 
on  the  West  Coa.st,"  Art  in 
America,  vol.  52,  no.  3,  June 

1964,  p.  24. 

Thomas  B.  Hess,  "The  Disre- 
spectful Handmaiden,"  j4r/ 
News,  vol.  63.  no.  9,  January 

1965,  pp.  38-39,57-58. 

Nancy  Marmer,  "Peter  Voul- 
kos," Artforum,  vol.  3,  no.  9, 
Junel965,  pp.  9-11. 

John  Coplans,  "Voulkos:  Re- 
demption through  Ceramics," 
Art  News,  vol.  64,  no.  4,  sum- 
mer 1965,  pp.  33-39,  64-65. 

Maurice  Tuchman  and  L. 
Clarice  Davis,  Peter  Voulkos, 
Sculpture,  Los  Angeles  County 
Mu.seum  of  Art,  1965. 

Peter  Voulkos  and  Paul  Sold- 
ner,  "West  Coast  Ceramics," 
Craft  Horizons,  vol.  26,  no.  3, 
June/July  1966,  pp.  25-28. 

John  Coplans,  Abstract  Expres- 
sionist Ceramics,  University 
of  California,  Irvine,  1966. 

James  Melchert, "Peter  Voulkos: 
a  Return  to  Pottery,"  Craft 
Horizons,  vol.  28,  no.  5,  Septem- 
ber/October 1968,  p.  20. 

Peter  Selz  and  Brenda  Richard- 
son, "California  Ceramics," 
Art  in  America,  vol.  57,  no.  3, 
May /June  1969,  pp.  104-105. 


Suzanne  Foley,  -4  Decade  of 
Ceramic  Art,  1962-1972,  from 
the  Collection  of  Professor  and 
Mrs.  R.  Joseph  Monsen.  San 
Francisco  Museum  of  Art,  1972. 

Gerald  Nordland.  Peter  Voul- 
kos, Bronze  Sculpture,  San 
Francisco  Museum  of  Art,  1972. 

Joseph  Pugliese,  "The  Decade: 
Ceramics,"  Craft  Horizons. 
vol.  33,  no.  1,  January/February 
1973,  p.  50. 

Sandy  Ballatore,  "The  Califor- 
nia Clay  Rush,"  i4rt  in  America, 
vol.  64,  no  4,  July- August 
1976,  p.  84. 

Hal  Fischer,  "The  Art  of  Peter 
Voulkos,'"  Artforum,  vol.  17,  no. 
3,  November  1978,  pp.  41-47. 

Rose  Slivka,  Peter  Voulkos:  A 
Dialogue  with  Clay,  New  York, 
1978. 


Stella  Paul 


Chronology  of  Exhibitions:  1959-70 


1^59 


Exhibitions  in  Los  Angeles 

California  Painters  and 
Sculptors,  Thirty-Five 
and  Under 
UCLA  Art  Galleries 
January  19- February  22 
Catalog  with  introduction  by 
Jules  Langsner 

Billy  At  Bengston  and 
Edward  Kienholz 
Ferus  Gallery 
February  17- March  14 

Sart}  Francis 
Pasadena  Art  Museum 
March  3- April  10 
Traveled  to  San  Francisco 
Museum  of  Art;  Seattle  Art 
Museum,  Washington. 

Robert  Irwin 
Ferus  Gallery 
March  23-April  18 

Prints  and  Drawings 

by  June  Wayne 

Los  Angeles  County  Museum 

of  History,  Science  and  Art 

April  1-May  17 

Catalog  with  text 

by  Ebria  Feinblatt 

Edward  Branco  Moses 
Ferus  Gallery 
April  27- May  23 

Adolph  Gottlieb 
Paul  Kantor  Gallery 
April  27- May  23 


ADOLPH 

GOTTLIEB 


APRIL     27-M  AY     25.    1  9S9 


PAUL    KANTOR    GALLERY 


Peter  Voulkos 

Felix  Landau  Gallery 

May  4-23 


Arthur  Dove  Retrospective 

UCLA  Art  Galleries 

May-June 

Catalog  with  text  by 

Frederick  S.  Wight 

Joan  Miro 

Los  Angeles  County  Museum 

of  History,  Science  and  Art 

June  10-July  21 

Organized  in  cooperation  with 

The  Museum  of  Modern  Art, 

New  York 

Annual  Exhibition  of  Artists 

of  Los  Angeles  and  Vicinity 

(juried  by  Elmer  Bischoff, 

Kenneth  Sawyer,  David 

Smith) 

Los  Angeles  County  Museum 

of  History,  Science  and  Art 

August  4- September  6 

Catalog 

Yearly  exhibitions;  entries 

limited  to  125-mile  radius; 

began  1920,  ended  1962 


122 


VqUiKOS 


Four  Abstract  Classicists  (Karl 
Benjamin,  Lorser  Feitelson, 
Frederick  Hammersley,  John 
McLaughlin) 

Los  Angeles  County  Museum 
of  History,  Science  and  Art 
September  16- October  18 
Catalog  with  foreword 
by  James  Elliott, 
text  by  Jules  Langsner 
Jointly  organized  by  Los 
Angeles  County  Museum  of 
History,  Science  and  Art  and 
San  Francisco  Museum  of  Art. 
Ti-aveled  to  Institute  of 
Contemporary  Art,  London 


Lee  Mullican 
UCLA  Art  Galleries 
October  5- November  1 

Helen  Lundeberg 
Paul  Rivas  Gallery 
October  5-30 


Hassel  Smith 

Ferus  Gallery 

October  12- November  7 

Aristide  Maillol 
Los  Angeles  County  Museum 
of  History.  Science  and  Art 
November  4- December  20 
Organized  by  The  Museum  of 
Modern  Art,  New  York 


1959 


19( 


60 


European  Art  Today  (35  artists) 
Los  Angeles  County  Museum 
of  History,  Science  and  Art 
November  11- December  20 
Catalog  edited  by  Sam 
Hunter;  essays  by  Lawrence 
AUoway,  Umbro  Appollonio, 
Friedrich  Bayl,  Juan-Edwardo 
Cirlot,  James  Fitzsimmons 
Organized  by  The  Minneapolis 
Institute  of  Arts,  Minnesota; 
traveled  to  San  Francisco 
Museum  of  Art;  North 
Carolina  Museum  of  Art, 
Raleigh;  The  National  Gallery 
of  Canada,  Ottawa;  French  & 
Company,  Inc.,  New  York;  The 
Baltimore  Museum  of  Art, 
Maryland 


Exhibitions  outside 
of  Los  Angeles 

Edward  Bronco  Moses 
(first  New  York  one-man  show) 
Area  Gallery,  New  York 
January  2-23 


Exhibitions  in  Los  Angeles 

Fourteen  New  York  Artists 
(Brooks,  de  Kooning,  Gorky, 
Guston,  Hofmann,  Kline, 
Mitchell,  Motherwell, 
Nevelson,  Newman,  Pollock, 
Resnick,  Rothko,  Tworkov) 
Ferus  Gallery 
January  18- February  13 


50  Paintings  by  37  Artists  of 
the  Los  Angeles  Area  (includes 
Bengston,  Irwin,  Kauffman, 
Kienholz,  Moses,  McLaughlin, 
Voulkos) 

UCLA  Art  Galleries 
March  20- April  10 
Catalog  with  text  by 
Henry  T.  Hopkins 


James  Jarvaise  (Hudson  River 

Series) 

Felix  Landau  Gallery 

January  25- February  13 

Brochure  with  introduction  by 

Gerald  Nordland 

Mark  Tobey  Retrospective 
Pasadena  Art  Mu,seum 
February  7-March  9 


J.  DeFeo 
Ferus  Gallery 
March  21-April  16 

Sculpture  in  OurTime- 
Hirshhorn  Collection 
Los  Angeles  County  Museum 
of  History,  Science  and  Art 
April  12-May  15 
Catalog  with  text  by  E.  P. 
Richardson,  Abram  Lerner, 
Addison  Franklin  Page 
Organized  by  The  Detroit 
Institute  of  Arts 


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Billy  Al  Bengston 
Ferus  Gallery 
February  15- March  12 

East-West  (Lester  Johnson, 
Leland  Bell,  Robert  De  Niro, 
William  Brim,  John  Paul 
Jones,  Paul  Wonner) 
Felix  Landau  Gallery 
February  15- March  15 

David  Smith 

Paul  Kantor  Gallery 

February 


19 


60 


19 


60 


Connor  Everts 
Pasadena  Art  Museum 
April  13- May  18 
Catalog  with  text  by 
Gerald  Nordland 

Georges  Braque 
Pasadena  Art  Museum 
April  20-June  5 
Catalog  with  introduction 
by  Thomas  W.  Leavitt 

Kenneth  Price 
Ferus  Gallery 
May  16-June  11 


John  Mason 
Pasadena  Art  Museum 
May  31-July  6 

Man  Ray:  Drawings  and 

Watercotors 

Esther  Robles  Gallery 

June  27-July  16 

Robert  Irwin 
Pasadena  Art  Museum 
July  12-August  31 

Jasper  Johns  and  Kurt 
Schwitters 
Ferus  Gallery 
September  6-30 


JASPER   JOHNS 


FERUS 


KURT  SCHWITTERS 


Richard  Diebenkorn 
Pasadena  Art  Museum 
September  6- October  5 
Catalog  with  text  by  Thomas 
W.  Leavitt 

15  of  New  York  (Bluhm,  Brach, 
Goodnough,  Guston,  Hartigan, 
Jenkins,  Kanemitsu,  Kline, 
de  Kooning,  Parker,  Pollock, 
Richenburg,  Rivers,  Twar- 
dovicz,  Yunkers) 
Dwan  Gallery 
October  10- 


Seymour  Rosen 


Josef  Albers 

Ferus  Gallery 

October  10- November  5 


Thirty  California  Artists 
Pasadena  Art  Museum 
November 

Hudson  River  School 
Pasadena  Art  Museum 
November  30-June  4 


1  .'h  Bucknam 


124 


I960 


19 


61 


Exhibitions  in  Los  Angeles 


hDWARD     KUXHOLZ 
F  r.  R  U  S     GALLERY 


Larry  Aldrich  Collection 
Los  Angeles  Municipal  Art 
Gallery,  Barnsdall  Park 
January  5-29 

German  Expressionist  Paint- 
ings from  the  Morton  D.  May 
Collection 

UCLA  Art  Galleries 
January  8- February  19 

John  A I  toon 
Ferus  Gallery 
January  9- February  11 

Larry  Rivers 
Dwan  Gallery 
February  6-March  4 


Bob  Bucknam 


Seymour  Rosen 


Edward  Kienholz 
Ferus  Gallery 
December  5-31 

David  Smith  and  Joan  Jacobs 
Everett  Ellin  Gallery 
Winter 

Exhibitions  outside 
of  Los  Angeles 

Peter  Voulkos 

The  Museum  of  Modern  Art, 
New  York 
-March  13 


The  Object  Makers: 
Attitude— West  Coast 
Pomona  College  Art  Gallery 
February  16-March  26 


19 


61 


1961 


Seymour  Rosen 


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Hassel  Smith 
Pasadena  Art  Museum 
March  13- April  16 
Catalog  with  text  by 
Walter  Hopps 

Cross  Section,  1961:  Los 
Angeles-San  Francisco 
Los  Angeles  Municipal  Art 
Gallery,  Barnsdall  Park 
March  14- April  9 
Works  from  Northern  Califor- 
nia selected  by  San  Francisco 
Museum  of  Art 

Helen  Frankenthaler 
Everett  Ellin  Gallery 
March  20-April  15 

Emerson  Woelffer 
Primus-Stuart  Galleries 
April  2-29 

Willem  de Kooning 
Paul  Kantor  Gallery 
April  3-29 

Brochure  with  text  by 
Clifford  Odets 

Philip  Guston,  Franz  Kline 
Dwan  Gallery 
April  3-29 

John  Mason 
Ferus  Gallery 
May  15-June  24 


Edward  Kienholz 
Pasadena  Art  Museum 
May  16-June  21 

War  Babies 
Huysman  Gallery 
May  29-June  17 

Llyn  Foulkes 
Ferus  Gallery 
July  31 -August  26 


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Edward  Moses 
Ferus  Gallery 
December  4-30 


Billy  Al  Bengston 

Ferus  Gallery 

November  13- December  2 

Lee  Mullican 
Pasadena  Art  Museum 
November  21- December  27 


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Kenneth  Price 
Ferus  Gallery 
October  16- November  4 
Peter  Voulkos 
Primus-Stuart  Galleries 
October  16-November  U 


Exhibitions  outside  of 
Los  Angeles 

Richard  Diebenkorn 
The  Phillips  Collection, 
Washington,  DC. 
May  19-June  26 

The  Art  of  Assemblage 

The  Museum  of  Modern  Art, 

New  York 

October  4- November  12 

Catalog  with  text  by 

William  C.  Seitz 

Traveled  to  Dallas  Museum  of 

Contemporary  Arts,  Texas; 

San  Francisco  Museum  of  Art 


The  Museum  of  ModtTii  An.  .\,Y. 


1962 


1962 


Exhibitions  in  Los  Angeles 

Tamarind  Lithographs 
UCLA  Art  Galleries 
January  7- February  11 
Catalog  with  introduction  by 
Frederick  S.  Wight 

Futurism 

Los  Angeles  County  Museum 

of  Art 

January  14- February  19 

Catalog  with  text  by 

Joshua  C.  Taylor 

Organized  by  The  Museum  of 

Modern  Art,  New  York 

John  McLaughlin 
Felix  Landau  Gallery 
January  29- February  17 

Ad  Reinhardt 
Dwan  Gallery 
February  5-March  3 

Robert  Motherwell  Retro- 
spective (first  American 
retrospective) 
Pasadena  Art  Museum 
February  18-March  11 


Jean  Tinguely  and 
NikideSt.Phalle 
Everett  Ellin  Gallery 
March  3-4 

Robert  Rauschenberg 
Dwan  Gallery 
March  4-31 


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George  Rickey 
Primus-Stuart  Galleries 
March  5-31 

Edward  Kienhoh  Presents  a 
Tableau  at  the  Ferus  Gallery 
Ferus  Gallery 
March  6-24 


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LARRY      BELL 
FERUS    GALLERY 


Larry  Bell  (first  one-man  show) 
Ferus  Gallery 
March  27- April  14 

Arshile  Gorky 
Everett  Ellin  Gallery 
April  2-28 

Frank  Lobdell 
Ferus  Gallery 
April  16-May  5 

Charles  Frazier 
Everett  Ellin  Gallery 
May  1-26 


Robert  Irwin 
Ferus  Gallery 
May  8-26 

John  A I  toon 
Pasadena  Art  Museum 
May  15-June  20 

Reuben  Nakian  (first  Ameri- 
can retrospective) 
Los  Angeles  County  Museum 
of  Art 

May  16-June  24 
Catalog  with  text  by 
Robert  W.  Goldwater 
Organized  for  the  VI  Bienal  de 
Sao  Paulo.  Brazil;  circulated 
by  The  Museum  of  Modern 
Art,  New  York 


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Simon  Radio's  Towers  in 

Watts:  Photographs  by 

Seymour  Rosen 

Los  Angeles  County  Museum 

of  Art 

May  16-June  24 

Catalog  with  foreword  by 

William  Osmun,  text  by 

Paul  Laporte 

Bruce  Conner 
Ferus  Gallery 
June  4- 

A  Pacific  Profile  of  Young  West 
Coast  Painters 
Pasadena  Art  Museum 
June  11-July  19 
Catalog  with  text  by 
Constance  Perkins 

Directions  in  Collage 
Pasadena  Art  Museum 
June  19-July  20 


Kurt  Schwitters:  A  Retrospec- 
tive Exhibition 
Pasadena  Art  Museum 
June  20-July  17 
Catalog  with  text  by 
William  C.  Seitz 
Organized  by  The  Museum  of 
Modern  Art,  New  York; 
traveled  to  the  Currier  Gal- 
lery of  Art.  Manchester.  New 
Hampshire;  The  Phillips  Col- 
lection, Washington,  DC; 
University  of  Minnesota,  Min- 
neapolis; Busch-Reisinger 
Museum.  Harvard  University, 
Cambridge,  Massachusetts 

Some  Hard-Edge  Painters 
Los  Angeles  Art  Association 
June 

Louise  Nevelson 

Los  Angeles  County  Museum 

of  Art 

June-July 


1962 


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Andy  Warhol 

(first  commercial  show) 

Ferus  Gallery 

July  9- August  4 


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Norman  Zammitt  (first  one- 
man  show) 
Felix  Landau  Gallery 
September  17-October  6 


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Norman  Zammitt 


LLYN    FOULKES 

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Jean  Duhuffet 

Los  Angeles  County  Museum 

of  Art 

July  11- August  12 

Catalog  with  text  by  Peter 

Selz,  and  statement  by 

the  artist 

Organized  by  The  Museum  of 

Modern  Art,  New  York 


130 


The  Mr  and  Mrs.  Ben  Heller 

Collection  of  20th-century 

Paintings 

Los  Angeles  County  Museum 

of  Art 

August  15- September  30 

Catalog  with  text  by  Alfred  H 

Barr,  Jr;  Ben  Heller;  William 

C.  Seitz 

Organized  by  The  Museum  of 

Modern  Art,  New  York 

Return  to  the  Figure  (Carillo, 
Chavez,  Garabedian,  Lunetta) 
Ceeje  Gallery 
Fall 


THE  PASADENA  ART  MUSEUM 


Llyn  Foulkes 
Pasadena  Art  Museum 
September  18-October  24 


PASADENA  ART  MUSEUM 
46  N.  LOS  ROBLES 


NEW  PAINTING 


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DINE-DOWD-GOODE 

HEFFERTON-LICHTENSTEIN 

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SEPT.  25-OCT.  19. 1962 

New  Painting  of  Common 
Objects  (Dine,  Dowd,  Goode, 
Hefferton,  Lichtenstein, 
Ruscha,  Thiebaud,  Warhol) 
Pasadena  Art  Museum 
September  25- October  19 

20th-century  Sculpture 
Pasadena  Art  Museum 
September  26-October  30 

U.S.  Abstract  Expressionism 
Pasadena  Art  Museum 
September  26-October  19 

Lorser  Feitelson 
Ankrum  Gallery 
October  15- November  3 

Emerson  Woelffer:  Work  from 
1946  to  1962 
Pasadena  Art  Museum 
October  24- November  18 
Catalog  with  text  by 
Gerald  Nordland 


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62 


19 


62 


The  afford  and  Joann 
Phillips  Collection 
UCLA  Art  Galleries 
November  4- December  9 
Catalog  with  introduction  by 
Frederick  S.  Wight 

Billy  A I  Bengston 
Ferus  Gallery 
November  12- December  9 

My  Country  'Tis  of  Thee 

Dwan  Gallery 

November  18- December  15 


William  Claxton 


Jasper  Johns 
Everett  Ellin  Gallery 
November  19- December  15 


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Sam  Francis 

Esther  Bear  Gallery,  Santa 

Barbara 

November  25- December  31 


Joseph  Cornell 
Ferus  Gallery 
December  10- January  5 

Claire  Falkenstein 
Esther  Robles  Gallery 
December  17-January  7 


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Exhibitions  outside  of 
Los  Angeles 

Edward  Moxes 

Alan  Gallery,  New  York 

March 

Billy  Al  Bengston  (first  New 

York  show) 

Martha  Jackson  Gallery, 

New  York 

May  1-26 

Fifty  California  Artists 
Whitney  Museum  of  American 
Art,  New  York 
October  23- December  2 
Catalog  with  text  by  Lloyd 
Goodrich,  George  D.  Culler 
Jointly  organized  by  San 
Francisco  Museum  of  Art;  Los 
Angeles  County  Museum  of 
Art;  Whitney  Museum  of 
American  Art,  New  York 


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Exhibitions  in  Los  Angeles 

Martial  Raysse 
Dwan  Gallery 
January  6-28 

The  Artist's  Environment: 
The  West  Coast 
UCLA  Art  Galleries 
January  7- February  10 
Catalog  with  introduction  by 
Frederick  S.  Wight 
Organized  by  Amon  Carter 
Museum  of  Western  Art,  Fort 
Worth,  Texas;  traveled  to  Oak- 
land Art  Museum,  California 

Charles  Garabedian 

Ceeje  Gallery 

January  28- February  23 


Franz  Kline 
Dwan  Gallery 
March  3-30 

Joe  Goode 

Rolf  Nelson  Gallery 
March  8-30 

John  Mason 
Ferus  Gallery 
March  11-30 


Dealer's  Choice 
Dwan  Gallery 
February  10- 

Frank  Stella 
Ferus  Gallery 
February  18- March  31 


An  ton  i  Tapies 
Pasadena  Art  Museum 
March  20- April  25 
Catalog  with  text  by 
Lawrence  Alloway 
Organized  by  Museo  de  Bellas 
Artes,  Caracas,  Venezuela; 
traveled  to  Phoenix  Art  Cen- 
ter, Arizona;  Felix  Landau 
Gallery,  Los  Angeles 


Seymour  Rosen 


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Roy  Lichtenstein 
Ferus  Gallery 
April  1-27 


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Larry  Rivers 
Dwan  Gallery 
April  15- May  11 

Anthony  Berlant 
David  Stuart  Galleries 
April  27- May  25 

Edward  Moses 
Ferus  Gallery 
April  29- May  18 


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H.C.  Westermann 
Dilexi  Gallery 
Spring 

Jean  Tinguely 
Dwan  Gallery 
May  13- 

Edward  Ruscha 
Ferus  Gallery 
May  20-June  15 

Philip  Guston 

Los  Angeles  County  Museum 

of  Art 

May  22-June  30 

Catalog  with  text  by 

H.  H.  Arnason 

Organized  by  The  Solomon 

R.  Guggenheim  Museum, 

New  York 

Niki  de  St.  Phalle 
Dwan  Gallery 
May  25-June  22 


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Altoon,  Bell,  Bengston,  DeFeo, 
Irwin,  Kauffman ,  Lohdell,  Mason, 
Moses,  Price,  Ruben,  Ruscha 
Ferus  Gallery 
June  17- 

Six  Painters  and  the  Object 

(Jim  Dine,  Jasper  Johns,  Roy 

Lichtenstein,  Robert  Rauschenberg, 

James  Rosenquist,  Andy  Warhol) 

Los  Angeles  County  Museum  of  Art 

July  24- August  25 

Catalog  with  text  by 

Lawrence  Alloway 

Organized  by  The  Solomon 

R.  Guggenheim  Museum,  New  York 


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Pasadena  Art  Museum 
October  8-  November  3 
Catalog  with  introduction  by 
Walter  Hopps 


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Claes  Oldenburg 
Dwan  Gallery 
October 


Six  More  (Billy  Al  Bengston, 

Joe  Goode,  Philip  Hefferton, 

Mel  Ramos,  Edward  Ruscha, 

Wayne  Thiebaud) 

Los  Angeles  County  Museum 

of  Art 

July  24- August  25 

Catalog  with  foreword  by 

James  Elliott,  text  by 

Lawrence  Alloway 

(Shown  simultaneously  with 

Six  Painters  and  the  Object) 


134 


1963 


19 


63 


Larry  Bell 
Ferus  Gallery 
November  4- 


John  McLaughlin 
(retrospective) 
Pasadena  Art  Museum 
November  12- December  12 
Catalog  with  foreword  by 
Walter  Hopps,  and  statement 
by  the  artist 


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Peter  Voulkos 

David  Stuart  Galleries 

November  11- December  7 


Ad  Reinhardt 
Dwan  Gallery 
November  24-January  4 


George  Herms — Nativity  '63 
Rolf  Nelson  Gallery 
December  3-28 

Craig  Kauffman 
Ferus  Gallery 
December 


Exhibitions  outside  of 
Lx>s  Angeles 

Edward  Kienhoh 
Alexander  lolas  Gallery, 
New  York 
February  5-23 

California  Sculpture 
Kaiser  Center,  Oakland, 
California 

August  4-September  15 
Jointly  organized  by  Oakland 
Art  Museum,  California; 
Pasadena  Art  Museum, 
California;  Artforum 

Open  Air  (includes  Voulkos) 
Battersea  Park,  London 
August-  September 
Catalog 

Pop  Art  USA 
Oakland  Art  Museum  and 
California  College  of  Arts  & 
Crafts,  California 
September  7-29 
Organized  by  John  Coplans 

Richard  Diebenhorn 
M.  H.  de  Young  Museum, 
San  Francisco 
September  7-October  13 


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1964 


Exhibitions  in  Los  Angeles 

Hassel  Smith 

David  Stuart  Galleries 

January  6-Februarv  1 

Philip  Hefferton 
Rolf  Nelson  Gallery 
January  7- February  1 

Boxes  (Brecht,  Cornell, 

Frazier,  Samaras,  Schwitters, 

Warhol) 

Dwan  Gallery 

February  2-29 

Catalog  with  text  by 

Walter  Hopps 


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Martial  Raysse 
Dwan  Gallery 
May  4-30 

Jack  Tworkov 
Pasadena  Art  Museum 
July  14- August  16 


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Sterling  Holloway  Collection 
UCLA  Art  Galleries 
September  20-October  25 
Catalog  with  introduction  by 
Henri  Dorra 


Robert  Irwin 
Ferus  Gallery 
April  7- 

Post  Painterly  Abstraction 
Los  Angeles  County  Museum 
of  Art 

April  23-June  7 
Catalog  with  foreword  by 
James  Elliott,  text  by 
Clement  Greenberg 
Traveled  to  Walker  Art  Cen- 
ter, Minneapolis,  Minnesota; 
The  Art  Gallery  of  Toronto 

Arakawa 
Dwan  Gallery 
April 


Edward  Kienholz  (tableaux, 
including  The  Back  Seat 
Dodge  '38) 
Dwan  Gallery 
September  29-October  24 


Kenneth  Price 
Ferus  Gallery 
March  3 

Lloyd  Hamrol 
Rolf  Nelson  Gallery 
April  6- May  2 


L 


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136 


James  Rosenquist 

Dwan  Gallery 

October  27- November  24 


19 


64 


19 


64 


Roy  Lichtenstein 
Ferus  Gallery 
November  24- 


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Exhibitions  outside  of 
Los  Angeles 

Seven  New  Artists  (includes 

Bell,  Irwin) 

Sidney  Janis  Gallery, 

New  York 

May  5-29 

Catalog 

Richard  Diebenkorn 
(retrospective) 

Washington  Gallery  of  Modern 
Art,  Washington,  DC. 
November  6- December  ,31 
Catalog  with  text  by 
Gerald  Nordland 
Traveled  to  The  Jewish 
Museum,  New  York;  The  Fine 
Arts  Patrons  of  Newport  Har- 
bor, Balboa  Pavilion  Gallery, 
California 


The  Studs:  Moses,  Irwin, 
Price.  Bengston 
Ferus  Gallery 
November 

Lucas  Samaras 
Dwan  Gallery 
December 


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65 


Artforum 


Exhibitions  in  Los  Angeles 

Philip  Rich 
Ferus  Gallery 
January  1-25 

The  Arena  of  Love 
Dwan  Gallery 
January  5-February  1 

Piet  Mondrian  Retrospective 
(from  American  collections) 
Santa  Barbara  Museum  of  Art 
January  12-February  21 

Frank  Stella 

Ferus  Gallery 

January  26- February  22 


Ellsworth  Kelly 
Ferus  Gallery 
March  9- 

Kurt  Schwitters  (retrospective) 

UCLA  Art  Galleries 

March  21- April  25 

Catalog  with  introduction  by 

Werner  Schmalenbaeh,  text  by 

Kate  Steinitz,  and  statements 

by  the  artist 

Jointly  organized  by  UCLA 

and  Marlborough-Gerson 

Gallery 


Craig  Kauffman 
Ferus  Gallery 
March  30- 

Edward  Avedisian 
Nicholas  Wilder  Gallery 
April  5-30 


(OWlflO   aVEOISIlN 


xaoti)  Niioii  cmiti 


Jasper  Johns 
Pasadena  Art  Museum 
January  26- February  28 


Robert  Rauschenberg 
Dwan  Gallery 
April  13-May  8 


138 


19 


65 


19 


65 


Peter  Voulkos 

Los  Angeles  County  Museum 

of  Art 

April  14-June  20 

Catalog 

Charles  Frazier 
Dwan  Gallery 
May  U-June  5 

Lee  Mullican 

Silvan  Simone  Gallery 

June  7-26 


The  First  Gencriition 

<■■■•  )»■»■■ 

InM  khv 


Three  American  Painters: 
Kenneth  Noland,  Frank  Stella. 
Jules  Olitski 
Pasadena  Art  Museum 
July  7- August  1 
Catalog  with  text  by 
Michael  Fried 
Organized  by  Fogg  Art 
Museum,  Cambridge, 
Massachusetts 

Larry  Rivers 
Pasadena  Art  Museum 
August  10-September  5 
Catalog  with  text  by  Sam 
Hunter,  Frank  O'Hara 
Organized  by  Rose  Art 
Museum,  Brandeis  University, 
Waltham,  Massachusetts,  in 
collaboration  with  The  Detroit 
Institute  of  Arts;  The  Jewish 
Museum,  New  York;  Minneapolis 
Institute  of  Arts,  Minnesota; 
Pasadena  Art  Museum, 
California 

R.  B.  Kilaj:  Paintings 

and  Prints 

Los  Angeles  County  Museum 

of  Art 

August  U-Septeniber  12 

Catalog  with  text  by 

Maurice  Tuchman 


LEE       MULLICAN 


New  York  School:  The  First 
Generation-Paintings  of  the 
1940s  and  1950s  (Baziotes,  de 
Kooning,  Gorky,  Gottlieb, 
Guston,  Hofmann,  Kline, 
Motherwell,  Newman,  Pollock, 
Pousette-Dart,  Reinhardt, 
Rothko,  Still,  Tomlin) 
Los  Angeles  County  Museum 
of  Art 

June  18- August  1 
Catalog  edited  by  Maurice 
Tuchman,  texts  by  Lawrence 
Alloway,  Robert  Goldwater, 
Clement  Greenberg,  Harold 
Rosenberg,  William  S.  Rubin, 
Meyer  Schapiro.  and  state- 
ments by  each  artist 


%^<-. 


19 


65 


1365 


Virginia  Dwaii  Collection 
UCLA  Art  Galleries 
September  27-October  24 
Catalog  with  introduction  by 
Frederick  S.  Wight 

The  Responsive  Eye 
Pasadena  Art  Museum 
September  28- November  7 
Catalog  with  text  by 
William  C.  Seitz 
Organized  by  The  Museum 
of  Modern  Art,  New  York; 
traveled  to  City  Art  Museum 
of  St.  Louis,  Missouri:  Seattle 
Art  Museum,  Washington; 
Baltimore  Museum  of  Art, 
Maryland 


MEL 


DAVID  STUART  GALLERIES 

Mel  Ramos 

David  Stuart  Galleries 

October  12- November  6 

Larry  Poons 

Ferus  Gallery 

October  15- November  15 

Ronald  Davis 
(first  one-man  show) 
Nicholas  Wilder  Gallery 
October  16- November  13 


^ 


Artforum 

Bridget  Riley 
Feigen/Palmer  Gallery 
September  28-October  25 

Mark  di  Suvero 

Dwan  Gallery 

September  29- November  2 

Barnelt  Newman:  XVIII  Cantos 
Nicholas  Wilder  Gallery 
September 


t 


Frank  J   Thomas 


140 


1^65 


19 


65 


Larry  Bell 

Edward  Ruscha 

Ferus  Gallery 

Ferus  Gallery 

October  26- 

November  16- 

Stuarl  Davis  Memorial 

5  Younger  L.A.  Artists  (recip- 

Exhibition 

ients  of  the  New  Talent  Pur- 

UCLA Art  Galleries 

chase  Award:  Melvin  Edwards, 

November  1-28 

Anthony  Berlant,  Lloyd  Hamrol 

Catalog  with  foreword  by 

Llyn  Foulkes,  Philip  Rich) 

David  W.  Scott  and  inlroduction 

Los  Angeles  County  Museum 

by  H.  H.  Arnason 

of  Art 

Twentieth  Century  Sculpture 
(Archipenko,  Arp,  Brancusi, 
Braque,  Calder,  Cornell, 

f~i  _    T-»: T-\ 1 in i 

November  26- December  26 
Catalog  with  foreword  by 
Maurice  Tuchman 

Frank  J  Thomas 

De  Rivera,  Duchamp,  Ernst, 
Giacometti, Gonzalez, Lachaise 
Lehmbruck,  Lipchitz,  Matisse, 
Miro,  Moore,  Pevsner,  Picasso, 
David  Smith 

Art  Gallery,  University  of 
California,  Irvine 
October-  November 

Stanton  Macdonald-Wright, 
Herbert  Bayer 
Esther  Robles  Gallery 
November  15- December  3 


Maxwell  Hendler 

Ceeje  Galleries 

November  29- December  18 

David  Smith 

Los  Angeles  County  Museum 

of  Art 

November  30-January  30 

Catalog  with  text  by  Hilton 

Kramer 

Non-Art  Objects 
Dwan  Gallery 
December  1-January  4 

Agnes  Martin 

Nicholas  Wilder  Gallery 

December  U-January  8 


1965 


1^66 


Exhibitions  in  Los  Angeles 


Exhibitions  outside 
of  Los  Angeles 

Pop  Art  and  the  American 

Tradition  (includes  Bengston, 

Ruscha) 

Milwaukee  Art  Center, 

Wisconsin 

April  9- May  9 

Catalog 


Los  Angeles,.,..  4~     tt^"",   ..''~J^"$ 

Ill    HI  ■■  /^     m     ^-i«,, 

....;  1  :■■•>  -<■    * ^ 


5  af  Pace  (Bell,  DeLap, 
Kauffman,  Reynolds,  Ruscha) 
Pace  Gallery,  New  York 
July- September 
Catalog  with  text  by 
John  Coplans 

Exhibition  of  the  United  States 
of  America  VIII  Bienal  de  Sao 
Paulo,  Brazil  (Bell,  Bengston, 
Irwin,  Judd,  Newman,  Poons, 
Stella) 

Museu  de  Arte  Moderna 
September  4- November  28 
Catalog  with  text  by 
Walter  Hopps 

Organized  by  Pasadena  Art 
Museum  for  the  United  States 
Information  Agency 
TVaveled  to  Pasadena  Art 
Museum,  California;  National 
Collection  of  Fine  Arts, 
Washington,  DC. 

Selections  from  the  Work  of 

California  Artists 

Witte  Memorial  Museum,  San 

Antonio,  Texas 

October  10- November  14 


HONK  u. 


JDS 


««*. 


100  100 


u  nmm  mm    '°S 

COENTIES  StIP  WEST 


»«M«M 


Word  and  Image  (de  Kooning, 
Dine,  Frankenthaler,  Indiana, 
Johns,  Lichtenstein, 
Motherwell,  Ruscha,  Trova) 
The  Solomon  R.  Guggenheim 
Museum,  New  York 
December 

Brochure  with  essay  by 
Lawrence  Alloway 

Larry  Bell 

Pace  Gallery,  New  York 

Winter 


Norman  Zammitt 
Felix  Landau  Gallery 
January  3-29 

Henri  Matisse  Retrospective 
UCLA  Art  Galleries 
January  4- March  28 
Catalog  with  text  by  Jean 
Leymarie,  Herbert  Read, 
William  S.  Lieberman 
Traveled  to  The  Art  Institute 
of  Chicago;  Museum  of  Fine 
Arts,  Boston 

Five  Los  Angeles  Sculptors 
and  Sculptors'  Drawings 
(Bell,  DeLap,  Gray,  McCracken, 
Price) 

Art  Gallery,  University  of 
California,  Irvine 
January  7-February  6 
Catalog  with  introduction  by 
John  Coplans 


A  Iberto  Giacometti  Retrospective 

Los  Angeles  County  Museum 

of  Art 

January  14- February  20 

Catalog  with  introduction  by 

Peter  Selz,  and  statement  by 

the  artist 

Organized  by  The  Museum  of 

Modern  Art,  New  York 


Judith  Gerowitz 
Rolf  Nelson  Gallery 
January 

Robert  Graham 
Nicholas  Wilder  Gallery 
February  5- March  5 

John  Marin 

La  Jolla  Museum  of  Art 

February  12- March  27 


WE  DISSENT: 


OUR  fOnCIGN  POLICIES  IN  VltT  NAM  *ND 
DOMINICAN  REPlteuC  ARE  AGGRESSIVE 
HMO  OANGEftOUS  WE  HEREBY  COMMIT 
OURSELWCS  TO  A  fOUEIGN  «JLIC>  WHICH 
WILL  REMOVE  OUR  IROOPS  FROM  VIET  NAM 
ANO    DOMINICAN    REPUBLIC    NOW 

THESE  ARE   THE   REALITIES 
1     Throuihoul  Uw  irortd  njlionuniniKnU 
Mn  and  lurmoM,  n  tinnot  itop  Ilia  pi» 


W«  htlpcd  Id  c" 
hHI*  dliputoi  ai 


M  diuntlllMl  IhrDUBh  Ih 

}ui  ir>eM»ntlb)r  IkIh! 


142 


THE  MtHSTS  PflOIEST  COMMITTEE 


19, 


66 


19| 


66 


Seymour  Rosen 


Artists  Protest  Tower 
(Mark  di  Suvero) 
Corner  of  La  Cienega  and 
Sunset  Boulevards 
Dedication  February  26 


Vija  Celmins 

David  Stuart  Galleries 

February  28- March  26 

John  McLaughlin 
Felix  Landau  Gallery 
March  1-26 

Jawlensky  and  the  Serial 
Image 

Art  Gallery,  University  of 
California,  Irvine 
March  4-April  5 
Catalog  with  text  by  Shirley 
Hopps,  John  Coplans 
Traveled  to  Art  Gallery,  Uni- 
versity of  California,  Riverside 

Robert  Morris 
Dwan  Gallery 
March  8-April  2 


Artforum 


Ellsworth  Kelly 
Ferus  Gallery 
March  15- 

Joe  Goode 

Nicholas  Wilder  Gallery 

March  15- April  8 

Frank  Lohdell 
Pasadena  Art  Museum 
March  15-April  10 
Catalog  with  text  by 
Walter  Hopps 

TVaveled  to  Stanford  Univer- 
sity Museum  and  Art  Gallery 


Frank  J  Thomas 


19| 


66 


Los  Angeles  Times* 


^o&  Anade;^  ©ime^ 


VOL  LXXXV      t      SIX  PABTS-PARTONE 


WEDNESDAY  MOHNING,  MA«CH  ?3,   196« 


President  Cautions 


Johnson  Backs 

Wider  Contacts  -.  n  •      • 

With  Red  China  rfemature  Ksise  ir 


HIS  ART  CAUSED  A  ROW— tJ-orJ  Ktoihol:,  *h     . 

County  Muieum  of  Alt  drew  th«  ife  of  the  County  Boofd  o>  Sup«rviiof». 
H«  II  IroriFng  on  one  ot  Ui\  works,  an  onimol  tkuU  ' 


n  o  humon  form. 


Supervisors  Urge  Removal  of 
Modern  Exhibit  at  Museum 

Assail  Arr  Works  by  Edward  Kienholz  as  'Portto^raph.c' 
but  Executive  Committee  of  Institute  Rejects  Appeal 

n\    M\RKV   TR1^tBOB^J 

The  Boam  J  Sviponl»<ir\  Tui'«dny  un;p<l~lwt  did  nftt  ordT— rrmovBl 
from  ihe  Cownly  Muwum  ot  Art  ol  whut  it  cAlieU  n  'n-\r)WTiz  . .  .  »Jid 
pomo(tr»phic*  pshibllion  by  modrm  anui  Mwnrd  Kk-nholj 

■ Th.>  ainji-jl   WJa   rc)rt:Icd   liy   lh« 

:fi!   of   Iruitcn   •■   »n   Ifv- 

.  ..t  on  the  minciim-i  oblijti- 

I  ■  [I"""*  work*  *lhM  ttyre- 

sent  tn  hoHMt  ilAtemcnt  by  >  Mit- 

"im  arlUt.' 

The  ilupliy  *>!l  0|)'n  ne»i  \\»i- 
n«*liiv  and  continue  throuith  May 
U.  Without  Auy  o!  1t«  onpnjlly 
tchnlulf^l  prwtfnU'inn*  trm(n«l 

Thi"  mjwrvlior-i'  action,  taken  !»/ 
unaiirmou*  viilp.  wit  «pprov'Al  of  » 
IcIUt  by  Siif*r\  iwr  \V*rrrn  M  Uom 
10    (nittce    proldt-nt    Gt1w4rd    W, 


8ut  He  Imposes  Condition 
That  Peking  Mutt  Soften 
Its  Attitude  Toward  West 

BV  Rl<  HARD  BlllTON 

WASHIN'GTON  ~  Pn^idrrl 
Johnioii  Tu<^tday  fndoi-»«l  wld*r 
American  oontaclj  u'iih  Commu- 
nltl  China  if  Prklng  will  >ott«n  ita 
brlUfcerent  potture  towijil  the 

WMt. 

H:,    r. '....,   M    vt.'tr    ^,r»lt4    it    a 


h....-  r—rr  r..r.',.,r-t  «  ilh  her  (Chlr«i 
■nd  mor«  rxrhangrt  with  htr,*  ih» 
PmidfM  told  %n  tmpromplu  prr^M 
crmffTence 

Bui  he  noted  that  *«ha  (ChltuI 
hingt  up  the  phone*  every  lime  th* 
I'ldlrd  Slutca  prapoaM  moves  which 
would  brlnn  al>oui  a  relaxailoii  of 
cold  war  irnaion. 

New  MI(»lea  la  Vlilnam 

Mtanwhlle.    the    PrMl.ltnt     «■" 


Assembly  OKs  Tax 
for  Transit  Study 

Senate  Gets  Bill  Offering 
County  Alternative  Levies 


;  c.'Ntoi  protilems  «11h  CTiliu 
China* own  potwuxi  ■ 

■  ilM  made  iht  following  oh- 


vrvanxiw  ab^HiT  th«>  Chin*  heac- 
iti^i  bi  L"!*  Spriile  roreipi  Ro- 
Ik'nl  ri>mtntttcr  anil  the  Houifl 
Forrlgn  Aff»lM  CommiHw 

•tt>  ihmk  th.n  It  u  verv  good  in 
have  ih»  opinion  ot  ihrtt  proteno" 
nnd  rx|>«'M«  and  ambaxiadon  and 
oihM  people  ,  ,  .  I'lilii  there  I-  (oma 
changt^  on  (.'hlr^.i'*  pari.  I  doubt  ih«t 
thene  aradcmi'-  dttriiiiiona  wHl  do 
niiich  more  thai>  aaiiify  ptople'a 
jci'iiins  li>r  Information ' 
Mr  Johnoon»*idthe*dmlnislr3li<ni 
Pleaia  Turn  lo  rag*  13,  Cat.  I 


AN  AKH.OCT — Jamei  U.  Roch«,  nghf,  pratidant  ot  General  Mc4o<i, 
if^  ■it*'  Qitcrney,  Theodora  C  Sorwosoo,  ot  Scrwit*  Kwir^  ot  w*MCh 
R>Lhe  eipr»ii«d  fegreti  over  any  hnroiiment  ot  outo  criiic  Rolp^  Node' 

GM  President  Apologizes  for 
Any  Harassment  of  Car  Critic 

But  Denies  That  Company's  Use  of  Private  Detectites 
to  Investigate  Author  Involved  Girls  as  Sex  Lurei 

BT  aONALD  J.  OBTRUW 

WASHINtTTON— Gfntml  Moiora  prr»ldent  JaniM  M  Roche  apoln- 
dzM  T\KsdKy  to  ■  Setutr  >ubc<vnmlliee  tor  any  harastnenl  In  a  GM- 
ipontorm!  invMili^ation  of  an  auto  ufeiy  crIUc  and  ihcn  houn  lairr 
rrpMitrd  hia  public  apoloey  lo  the  ciltlc. 

iiwlic  drnHnl  ihjl  GM?  um.'  "f  pn- 
vaw  dettcllvM  to  in\c»li(;jle  Raii'h 
Nader  Involved  girls  aa  Wk  lurn, 
telephone  calU  at  odd  houra  or  oih*-' 
means  Of  intlmUotlon  alleged  by  N  - 
dcr. 

But  temimony  before  the  tub^m- 


Wilson  Hit  in  Eye 
at  Campaign  Rally 


Edward  Kienholz 
Los  Angeles  County  Museum 
of  Art 

March  30-May  15 
Catalog  with  text  by  Maurice 
Tuchman 

Traveled  to  Institute  of  Con- 
temporary Art,  Boston 


©  1966  Los  Angeles  Times* 


aulhorcd  hi  A 
CaiWll  (D-San 
Senate. 

Sen..!-' 
head"^ 


Fernando),  to  the 


I   la  Ordet' 
'   uiil  after  th' 
,-   that    Itw   af 


ralar  • 

Th.>- 


■  ■■-.iiwd  by 
r'.iri'i.i  Kiijld  Tran- 
1  (or  the  propoaed 


Ihe  Soviirirt 
»lt  Diiirici 
■yatem 

The  thtee  sitemallvea  open  lo  the 
upeniaora  would  be 

1— A  tl  per  vehlflf  fee, 

2— A  parkins  lot  iax  nn  up  to  :i~r 
ot  cnwa  receipts 

."V— A  pniperlv  l.>i  infrease. 

II  la  eiumal'^)  a  pn>(>«rty  lax  In- 
Plaaie  Tnm  (a  Pal*  30,  C«1.  I 

♦Reprinted  with  permission 


'ifl    -    r  . 

anl  K  i 
Klmb^,! 
Don-. 

aiTJliU'' 

a  diapi" ' 


Rrown  toM  The  Timt*  ftom  Ft. 

Worth  the  ICM  jiTopoMi  10  dUplay 

Plaaaa  Turn  la  Page  11.  Cel.  I 


Four  New  Quakes 
Rock  North  China 

-    r\>ll«d    north- 

'  r\g  people  (le*- 

\ng  i.iTo  Ml"  ftnr.-i>,  Japaneae  corrc- 

(ponilenu  In  the  Bed  Chinese  c-ipiul 

TT  ported 

In  Afnca.  new  earth  ahoekt  hit  In 
weilem  l'»nda,  blocking  with 
melii  the  onlv  arrru  road  to  Kampa- 
la, the  capliil  An  earthquake  Sun- 
d4v  killed  at  least  'H  pcnona. 

Five  almllar  earihiuakea  (truck 

around  YugotlavUs  Ilomian  capital 

Ptaaaa  Ton  to  Page  t>.  Cel.  J 


144 


1966 


19( 


66 


John  Baldessari 

La  Jolla  Museum  of"  Art 

March  30-April  24 

Arakawa 
Dwan  Gallery 
April  12-May  7 


Artforum 


Bruce  Nauman 
(first  one-man  show) 
Nicholas  Wilder  Gallery 
May  10-June  2 


'Jd 


MAY    10  -  JUNE   2   AT   THE 
NICHOLAS  WILDER   GALLERY 
LOS   ANGELES   CALIFORNIA 


Five  Europeans:  Bacon, 

Ballhus,  Dubuffet,  Giacometti, 

and  Morandi 

Art  Gallery,  University  of 

California,  Irvine 

May  17-Junel2 

Catalog  with  text  by 

John  Coplans 

Jules  Olitski 

Nicholas  Wilder  Gallery 

June  2-July  1 

SetfSen'ice,  A  Happening  by 
Allan  Kaprow 
Pasadena  Art  Museum 
June- September 

Robert  Irwin,  Kenneth  Price 
Los  Angeles  County  Museum 
of  Art 

July  7- September  4 
Catalog  with  texts  by  Philip 
Leider,  Lucy  R.  Lippard 


/ 


-r^ 


Man  Ray  Retrospective 
Los  Angeles  County  Museum 
of  Art 

October  25- January  1 
Catalog  with  foreword  by 
Jules  Langsner,  statements  by 
the  artist  and  by  Paul  Eluard, 
Marcel  Duchamp,  Andre  Bre- 
ton,RroseSelavy,  Tristan  Tiara, 
Hans  Richter,  Carl  L  Belz 


Reni  Magrilte 
Pasadena  Art  Museum 
August  1-September  4 

Anthony  Magar,  Forrest  Myers 
Dwan  Gallery 
October  1    \!9 


Frank  Stella 
Pasadena  Art  Mu.seum 
October  17- November  20 

Josef  Albers:  White  Line 
Squares  (two  lithographic 
series) 

Los  Angeles  County  Museum 
of  Art 

October  26- January  29 
Catalog  with  foreword  by 
Kenneth  E.  Tyler,  text  by 
Henry  T  Hopkins,  and  state- 
ment by  the  artist 


Abstract  Expressionist 

Ceramics  (Bengston,  Frimkess, 

Mason,  McClain,  Melchert, 

Nagle,  Neri,  Price,  Takemoto, 

Voulkos) 

Art  Gallery,  University  of 

California,  Irvine 

October  28- November  27 

Catalog  with  text  by 

John  Coplans 

Gifford  Phillips:  Some 
Continuing  Trends 
The  Fine  Arts  Patrons  of 
Newport  Harbor,  Balboa 
Pavilion  Gallery 
November  6- December  4 

John  Mason 

Los  Angeles  County  Museum' 

of  Art 

November  16-  February  1 

Catalog  with  text  by 

John  Coplans 


19, 


66 


1^66 


Frank  J   Thomas 


Dan  Flavin  (first  West 
Coast  show) 

Nicholas  Wilder  Gallery 
November  20-  December  9 

Kenneth  Noland 
Nicholas  Wilder  Gallery 
November 

John  Altoon 

David  Stuart  Galleries 

December  6- 

Jerry  McMillen 
Pasadena  Art  Museum 
December  13- January  15 

Joseph  Cornell  (retrospective) 
Pasadena  Art  Museum 
December  27- February  11 
Catalog  with  text  by 
Fairfield  Porter 


ALTOON 


DAVID  STUART  GALLERIES 

B07  N  l.AClENEoA  -   LOS  ANQELES  OS       ^jl  --.-->.. 


Frank  J.  Thomas 


Exhibitions  outside  of 
Los  Angeles 

Los  Angeles  Now  (Bell,  Herman, 
Collins,  Conner,  Foulkes, 
Hopper,  KaufTman,  Ruschal 
Robert  Fraser  Gallery,  London 
January  31- February  19 
Catalog  with  text  by 
John  Coplans 

Primary  Structures 
(includes  Bell) 

The  Jewish  Museum,  New  York 
April  27-June  12 

Ten  from  Los  Angeles  (Bell, 

Bengston,  DeLap,  Gray,  Goode, 

Kauffman,  Mattox,  McCracken, 

Price,  Ruscha) 

Seattle  Art  Museum, 

Washington 

July  15- September  5 

William  Geis  and 

Bruce  Nauman 

San  Francisco  Art  Institute 

September  26-  October  22 


Ronald  Davis 
Tibor  de  Nagy  Gallery, 
New  York 
October  11-29 

Robert  Irwin 

Pace  Gallery,  New  York 

November  12- December  10 


146 


1967 


Exhibitions  in  Los  Angeles 

Tom  Holland 

Nicholas  Wilder  Gallery 

January  3-21 

John  Battenberg 
Esther  Robles  Gallery 
January  9-27 

Kenneth  Snelson 
Dwan  Gallery 
January  10- February  4 


i--! 


Robert  Graham 
Nicholas  Wilder  Gallery 
January  24-February  11 

Craig  Kauffman 
Ferus/Pace  Gallery 
January 

Drawings  by  Frank  Stella 
Art  Gallery,  University  of 
California,  Irvine 
January-  February 


^_M 


Morns  Louis 

Los  Angeles  County  Museum 

of  Art 

February  15- March  26 

Catalog  with  text  by 

Michael  Fried 

Organized  by  Museum  of  Fine 

Arts,  Boston 


Paul  Klee  Retrospective 
Pasadena  Art  Museum 
February  20-April  2 
Catalog  with  text  by 
Will  Grohmann 

Roy  Lichtenstein 
Ferus/Pace  Gallery 
February 

Carl  Andre 
Dwan  Gallery 
March  8- April  1 


Donald  Judd 
Ferus/Pace  Gallery 
March 

Helen  Frankenthaler, 
John  McCracken 
Nicholas  Wilder  Gallery 
March 

Sol  LeWill 
Dwan  Gallery 
April  4-29 


Sot.   LC  K'lrr    pw/sw  a*i.t-»«i  i^a  AMfcccej  (iP*tt  n»7 


etia  trr  •»  mtnn 


(Srverof  wkwrtr  ®J**'fl*"  '•\*r;*"/S)  JMr/w  a-»u-«»*' 


Roy  Lichtenstein 
Pasadena  Art  Museum 
April  18- May  28 
Catalog  with  introduction  by 
John  Coplans,  interview  with 
Lichtenstein 

Traveled  to  Walker  Art  Cen- 
ter, Minneapolis,  Minnesota 


American  Sculpture  of  the  Six- 
ties (165  works  by  80  artists) 
Los  Angeles  County  Museum 
of  Art 
April  28-June  25 


Catalog  with  introduction  by 
Maurice  TUchman,  texts  by 
Lawrence  Alloway,  Wayne 
Andersen,  Dore  Ashton,  John 
Coplans,  Clement  Greenberg, 
Max  Kozloff,  Lucy  R.  Lippard, 
James  Monte,  Barbara  Rose, 
Irving  Sandler 


1967 


19, 


67 


Ten  (Andre,  Baer,  Flavin, 
Judd,  LeWitt,  Martin,  Morris, 
Reinhardt,  Smithson,  Steiner) 
Dwan  Gallery 
May  2-27 

Dennis  Oppenheim 
Comara  Gallery 
May 

Robert  Rauschenberg 
Gemini  GEL. 
May 

Vasa 

Herbert  Palmer  Gallery 

May 


MKIj  RAMOS 


Mel  Ramos 

David  Stuart  Galleries 

October  10- November  4 


Agnes  Martin 

Nicholas  Wilder  Gallery 

October  17- November  3 


Frank  J.  Thomas 

Peter  Voulkos 

David  Stuart  Galleries 

May 

Selections  from  the  Charles 
Cowles  Collection 
Pasadena  Art  Museum 
June  20-July  16 

Jackson  Pollock  Retrospective 
Los  Angeles  County  Museum 
of  Art 

July  18-September  3 
Catalog  with  text  by 
Francis  V.  O'Conner 
Organized  by  The  Museum  of 
Modern  Art,  New  York 

Jules  Olitski 
Pasadena  Art  Museum 
July  25-August  27 
Catalog  with  text  by 
Michael  Fried 

Joe  Goocle,  Edward  Ruscha 
Nicholas  Wilder  Gallery 
August  8- September  2 

Mason  Williams  Bus 
Pasadena  Art  Museum 
August  29- September  7 


Jackson 
Pollock 


Allan  Kaprow 
Pasadena  Art  Museum 
September  15-October  22 
Catalog  with  introduction  by 
James  Demetrion,  text  by 
Allan  Kaprow,  Kaprow  inter- 
view by  Barbara  Berman 
Traveled  to  Washington  Uni- 
versity, St.  Louis,  Missouri; 
University  of  Texas,  Austin 

Robert  Hudson:  Recent 

Sculpture 

Nicholas  Wilder  Gallery 

September  26- October  14 


148 


James  Turrell 
Pasadena  Art  Museum 
September  9- October  9 
Catalog  with  text  by 
John  Coplans 


19| 


67 


19 


67 


Sam  Francis 
UCLA  Art  Galleries 
October  30- December  17 
Catalog  with  introduction  by 
Anneliese  Hoyer 
Organized  by  San  Francisco 
Museum  of  Art 


Exhibitions  outside  of 
Los  Angeles 

Ninety-Four  Works  from  the 
Collection  of  Sterling  Holloway 
Portland  Art  Museum,  Oregon 
January  24-February  12 

Edward  Kienholz 
Dwan  Gallerj',  New  York 
January 

Craig  Kauffman 

Pace  Gallery,  New  York 

February  18- March  18 

The  West — 80  Contemporaries 
The  University  of  Arizona  Art 
Gallery,  Tucson 
March  19- April  30 

Funk  (includes  Price,  Voulkos; 
26  artists,  most  from  Northern 
California) 

University  Art  Museum,  Uni- 
versity of  California,  Berkeley 
April  18- May  29 
Catalog  with  text  by  Peter  Selz 


Ronald  Davis 

Nicholas  Wilder  Gallery 

November  4-25 

Dry  Ice  (environment  created 
by  Eric  Orr,  Lloyd  Hamrol, 
Judy  Chicago) 
Century  City 
December  14-16 


Seymour  Rosen 


Larry  Bell 

Pace  Gallery,  New  York 

April  22-May  20 


A  New  Aesthetic  (Bell,  Davis, 

Flavin,  Judd,  Kauffman, 

McCracken) 

XWy 

Washington  Gallery  of  Modern 

J                      \ 

^         v" 

Art.  Washington,  DC. 

May  6-June  25                                      i 

■       V 

Catalog  with  text  by                             1 

1  k\ 

Barbara  Rose                                      1 

Joe  Goode                                             fl 

■           \ 

Rowan  Gallery,  London                      H 

1     ^^^ 

Summer                                               H 

^^k. 

United  States  of  America  V 

Paris  Biennale  (Llyn  Foulkes, 

Craig  Kauffman.  John 

McCracken,  Edward  Ruscha) 

Musee  d'Art  Moderne  de  la 

Ville  de  Paris 

September  30- November  5 

Catalog 

Organized  by  and  traveled  to 

Pasadena  Art  Museum 

Sam  Francis 

Museum  of  Fine  Arts,  Houston, 

Texas 

October  12- December  3 

TVaveled  to  University  Art 

Mu.seum,  University  of 

California,  Berkeley 

Edward  Ruscha  (first  New 
York  one-man  show) 
Alexander  lolas  Gallery, 
New  York 
December  12-January  13 


19| 


68 


1968 


Exhibitions  in  Los  Angeles 


Bruce  Nauman 
Nicholas  Wilder  Gallery 
March  17-April  17 

Ed  Ruscha-Joe  Goode 
The  Fine  Arts  Patrons  of 
Newport  Harbor,  Balboa 
Pavilion  Gallery 
March  27- April  21 
Catalog  with  text  by  Henry 
T.  Hopkins 

Walter  de  Maria 
Nicholas  Wilder  Gallery 
April  9-26 


Wallace  Berman 


New  British  Painting 
and  Sculpture 
UCLA  Art  Galleries 
January  8- February  11 
Catalog  with  texts  by  Sir  Her- 
bert Read,  Bryan  Robertson, 
Ian  Dunlop,  David  Thompson, 
Robert  Hughes,  Frederick 
S.  Wight 

Organized  by  Whitechapel  Art 
Gallery,  London 

John  Altoon 
Pasadena  Art  Museum 
January  9- February  4 
Catalog  with  text  by 
Gerald  Nordland 
Organized  by  San  Francisco 
Museum  of  Art;  traveled 
to  Art  Gallery,  University  of 
California,  San  Diego 

Robert  Irwin:  New  Paintings 
Pasadena  Art  Museum 
January  16- February  18 
Catalog  with  text  by  John 
Coplans 

Chaim  Soutine,  1893-1943, 

Retrospective 

Los  Angeles  County  Museum 

of  Art 

February  20-April  14 

Catalog  with  text  by  Maurice 

Tuchman 

Dennis  Hopper:  Bomb  Drop 
Pasadena  Art  Museum 
February  24- March  17 


KRASK  STKI.I.A 


^ZP 


IKMM.  111.1  \l  l.MI.KIn 


Edward  Ruscha 
Irving  Blum  Gallery 
February 

Frank  Stella 

Irving  Blum  Gallery 

March  12- 


Wallace  Berman 

Los  Angeles  County  Museum 

of  Art 

April  30-June  2 

Brochure  with  text  by 

Gail  Scott,  statement  by 

Jack  Hirschman 

Traveled  to  The  Jewish 

Museum,  New  York;  separate 

publication  with  text 

by  James  Monte 

Donald  Judd 
Irving  Blum  Gallery 
May  7-26 


r>o\  \i.i)  ji  1)1) 


ED  RUSCHA -JOE  GOODE 

An  .ihibiliDn  Dr»EDlid  br  lli>  Fin.  Aili  P.lrsn.  Dl 
Ndnpsn  Hitboi  a>  Iht  ftiJboa  PivHion  «00  Main  Sim  I 
Balboa  Cilittnila  Manh  27  Id  Apnl  21  1368  I  Is  ^  s  m 
WtdnodS)^  ihnugh  Sundiii    E  ID  3  d  m  Mandiri 


lltVINC;  HUM  (i.M.I.F.RV 


1968 


1968 


Douglas  Wheeler 
Pasadena  Art  Museum 
May  28-June  30 
Catalog  with  text  by 
John  Coplans 

Claes  Oldenburg 
Irving  Blum  Gallery 
June  4- 

Frank  J  Thomas 


PURE  BEAUTY 


TtRMS  MOST  USfnH  IN  HSCWBWG  OSATM  W»Sa  UTi 


MOM 

FIHV08 

ANEWSLWr 

KSCi 

UWOUNISS 

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HOnvATON 
[NCHANIWin 
BUND 
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[NIHRALL 

lAHlSfHIOUStY 

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IWlUiNCE 

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KlIOHT 

ADOUS! 

COMMLMCATi 

CIJIWII 

NUKIUBI 

PUN  BTIlllGmllY 

MIAOI 

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CHAlUNCi 

iUVAIi 

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COMMAND  AITIKTCH 

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IKWRT 


JOHN  BALDESSARI  AT  MOLLY  BARNES 

GALLERY  OCT.  6  28, 1968.  OPENING:  OCT.  6, 

8-10  PM.  631  N.  LA  CIENEGA  BLVD. 

LOS  ANGELES. 


Assemblage  in  California 
(Herman,  Kienholz,  Herms, 
Conner,  F.  Mason,  Talbert) 
Art  Gallery,  University  of 
California,  Irvine 
October  15- November  24 
Catalog  with  texts  by  John 
Coplans,  Walter  Hopps,  Philip 
Leider,  Hal  Glicksman 


§[iiim[i3r 


(;i..\Ks<>Li)i-.\m  i«i 


U/,^ 


IKMM.  lil.lM  (i.M.l.liRV 


Dada,  Surrealism,  and  Their 

Heritage 

Los  Angeles  County  Museum 

of  Art 

July  16-September  8 

Catalog  with  text  by  William 

S.  Rubin 

Organized  by  The  Museum  of 

Modern  Art,  New  York; 

traveled  to  The  Art  Institute 

of  Chicago 

David  Hockney  and 
William  Pettel 
Nicholas  Wilder  Gallery 
July 


Serial  Imagery 
Pasadena  Art  Museum 
September  17-October  27 
Catalog  with  text  by 
John  Coplans 

Traveled  to  Henry  Art  Gallery, 
University  of  Washington, 
Seattle;  Santa  Barbara 
Museum  of  Art,  California 

John  Baldessari 
Molly  Barnes  Gallery 
October  6-28 


R|-:i-LI:CTION 


Transparency  I  Reflection 

California  State  College, 

FuUerton 

October  18- November  17 


1^68 


1968 


Late  Fifties  at  the  Fcrus 


Late  Fifties  at  the  Ferus 

(19  artists) 

Los  Angeles  County  Museum 

of  Art 

November  12- December  17 

Catalog  with  text  by 

James  Monte 


Sol  LeWitt 

Ace  Gallery 

December  2-January  11 

Carl  Andre 

Irving  Blum  Gallery 

December  3- 


H.  C.  Westermann 

Los  Angeles  County  Museum 

of  Art 

November  23-January  12 

Catalog  with  text  by 

James  Monte 


Billy Al Bengston  (retrospective) 

Los  Angeles  County  Museum 

of  Art 

November  26-January  12 

Catalog  with  text  by 

James  Monte 

Traveled  to  Corcoran  Gallery 

of  Art,  Washington,  DC; 

Vancouver  Art  Gallery,  British 

Columbia 


apa^iii^; 


Exhibitions  outside  of 
Los  Angeles 

David  Hockney 

Kasmin  Limited,  London 

January  19- 

Edward  Ruscha 
Alexander  lolas  Gallery, 
New  York 
January 

The  Vfest  Coast  Now  (62  artists) 
Portland  Art  Museum,  Oregon 
February  9-March  6 
Catalog  with  foreword  by 
Rachel  Griffin,  texts  by  Henry 
T.  Hopkins,  Gerald  Nordland 
Traveled  to  Seattle  Art 
Museum,  Washington;  M.  H. 
de  Young  Memorial  Museum, 
San  Francisco;  Los  Angeles 
Municipal  Art  Gallery, 
Barnsdall  Park 


David  Hockney  =~~;; 


152 


1968 


19, 


68 


Larry  Bel! 

Stedelijk  Museum,  Amsterdam 

February 

Joe  Goode 

Kornblee  Gallery,  New  York 

February 

Kenneth  Price 

Kasmin  Gallery,  London 

March  1- 

Robert  Irwin 

Pace  Gallery,  New  York 

March  15- April  11 

Gene  Davis,  Robert  Irwin, 

Richard  Smith 

The  Jewish  Museum,  New  York 

March  20-May  12 

Separate  catalogs  for 

each  artist 

Los  Angeles  6  (Bell,  Davis, 
Irwin,  Kauffman,  Kienholz, 
McCracken) 

The  Vancouver  Art  Gallery, 
British  Columbia 
March  31- May  5 
Catalog  with  text  by 
John  Coplans 


Archives  of  American  Art 


IDSANaiES 


40  Now  California  Painters 

The  Tampa  Bay  Art  Center, 

Florida 

April  8- May  14 

Catalog  with  text  by  Henry  T. 

Hopkins,  Jan  von  Adlmann, 

Karl  M.  Nickel 


:raORNIA 
TERS 


It  a  ^    r 


lONAlD  IMVB  MMICM 

£p 

rv' 

■1     ki*^^    i-i 

fe 

SP^^^ 

7-^'        ■ 

Bruce  Nauman 

Leo  Castelli  Gallery,  New  York 

March 


Ronald  Davis 

Leo  Castelli  Gallery,  New  York 

March  23- 

Documenta  4  (includes  Bell, 
Davis,  Hockney,  Irwin, 
Kienholz,  Nauman) 
Kassel,  West  Germany 
June  27-October  6 

Bruce  Nauman 
Konrad  Fischer  Gallery, 
Diisseldorf,  West  Germany 
July  10- August  8 


Billy  Al  Bengston:  Motel 

Dracula 

San  Francisco  Museum  of  Art 

September  1- November  2 

California 

Janie  C.  Lee  Gallery,  Dallas, 

Tfexas 

October  15- November  15 

David  Hockney,  Oeuvre 

Katalog-Graphik 

Galerie  Mikro,  Berlin,  West 

Germany 

October 

Catalog 

John  McLaughlin  Retrospective 
Exhibition  1946-1967 
Corcoran  Gallery  of  Art, 
Washington,  DC. 
November  16-January  5 

Works  from  the  1960s  by 
Edward  Kienholz 
Washington  Gallery-  of 
Modern  Art,  Washington,  DC. 
November  22-January  7 

Sam  Francis 

Centre  National  d'Arl  Con- 
temporain,  Paris 
December  10-January  12 


1^69 


1^69 


Exhibitions  in  Los  Angeles 

Bruce  Nauman 
Nicholas  Wilder  Gallery 
January  28-February  15 

Joe  Goode 

Nicholas  Wilder  Gallery 

January 


Dan  Flavin 

Irving  Blum  Gallery 

April  1^ 


New  Paintings  by  Richard  Dielicnltorn 


Georges  Brecht — Sculpture 
Los  Angeles  County  Museum 
of  Art 

April  15-May  18 
Catalog  with  introduction  by 
Jane  Livingston,  and  state- 
ments by  the  artist 

Ronald  Davis 

Nicholas  Wilder  Gallery 

April  15-May  3 

Judy  Gerowitz 
Pasadena  Art  Museum 
April  28-June  1 

Kenneth  Price 

Riko  Mizuno  Gallery 

April 


New  Paintings  by  Richard 

Diebenkorn 

Los  Angeles  County  Museum 

of  Art 

June  3-July  27 

Brochure  with  text  by 

Gail  R.  Scott 

Richard  Tuttle 
Nicholas  Wilder  Gallery 
June 

RON  DAVIS 


Erotic  Art '69 

David  Stuart  Galleries 

February  7- March  4 

Cy  Twombley 

Nicholas  Wilder  Gallery 

March  4-22 

Cra  ig  Ka  uffm  a  n 
Irving  Blum  Gallery 
March  11- 

George  Herms 

Molly  Barnes  Gallery 

March  17-April  11 


CR Al<;  KM   KK\I  \\ 


New  York:  The  Second  Break- 
through, 1959-1964  (Dine, 
Johns,  Lichtenstein,  Louis, 
Noland,  Oldenburg,  Rauschen- 
berg,  Rosenquist,  Stella,  Warhol) 
Art  Gallery,  University  of 
California,  Irvine 
March- April 
Catalog  with  text  by 
Alan  Solomon 


The  Appearing! 
Disappearing  Object  (Asher, 
Ruppersberg,  Edge,  Cooper, 
Baldessari,  LeVa.  Rudnick) 
Newport  Harbor  Art  Museum 
May  5-June  28 

Douglas  Huebler 
Eugenia  Butler  Gallery 
Spring 


1969 


19| 


69 


Edward  Kienholz 
Eugenia  Butler  Gallery 
Summer 

Ron  Cooper 
Ace  Gallery 
Summer 

At  Ruppersberg 
Eugenia  Butler  Gallery 
Summer 

Edward  Moses 
Riko  Mizuno  Gallery 
Summer 


Les  Levine 

Molly  Barnes  Gallery 

October  14- November  14 


Frank  J  Thomas 


LACMA 

Willem  de Kooning  (retrospec- 
tive) 

Los  Angeles  County  Museum 
of  Art 

July  29-September  14 
Catalog  with  text  by  Thomas 
B.  Hess 

Organized  by  The  Museum  of 
Modern  Art,  New  York 


Mel  Bochner 
Ace  Gallery 
September  2- October  6 


Lee  Mullican 
UCLA  Art  Galleries 
September  15-October  19 
Catalog  with  introduction  by 
Gordon  Onslow-Ford 

Lloyd  Hamrol 

Pomona  College  Art  Gallery 

Fall 


I  .li>  I.inutt  \1>NiK-..l  t)l:l^;f.1l"^ 


Stephan  von  Huene:  The 

Rosebud  Annunciator 

Los  Angeles  County  Museum 

of  Art 

August  21-September  21 

Brochure  with  text  by 

Hal  Glicksman 

Recent  Work  by  Robert  Irwin 
La  JoUa  Museum  of  Art 
August  28- September  28 


Fifty  Tantric  Mystical 

Diagrams 

Los  Angeles  County  Museum 

of  Art 

October  21- November  23 

Brochure  with  text  by  Maurice 

Tuchman,  Gail  R.  Scott, 

Pratapaditya  Pal 

Traveled  to  The  Jewish 

Museum,  New  York 

Tantric  Works 
Eugenia  Butler  Gallery 
October  28- November  15 


1^69 


19i 


69 


Frank  Stella 
Irving  Blum  Gallery 
November  4- 

Michael  Asher 

La  Jolla  Art  Museum 

November  7- December  31 


Exhibitions  outside 
of  Los  Angeles 

Three  Modern  Masters:  Billy 
Al  Bengston,  Edward  Ruscha, 
Frank  Lloyd  Wright 
Gallery  Reese  Palley, 
San  Francisco 
March  24- April  19 


Eric  Orr 


Maxwell  Hendler 
Eugenia  Butler  Gallery 
November  18- December  6 


West  Coast  1945-1969 
Pasadena  Art  Museum 
November  24-January  18 
Catalog  with  introduction  by 
John  Coplans 

Inaugural  exhibition  in  new 
building;  traveled  to  City  Art 
Museum  of  St.  Louis,  Missouri; 
Art  Gallery  of  Ontario,  Tbronto; 
Fort  Worth  Art  Center 
Museum,  Texas 


Eric  Orr — Sound  Tunnel 
Junior  Arts  Center, 
Barnsdall  Park 
November- May 

Sarn  Francis:  Paintings 
and  Gouaches 
Felix  Landau  Gallery 
December  1-January  3 

William  T  Wiley:  Monument 
to  Black  Ball  Violence 
Eugenia  Butler  Gallery 
December  9-31 

Vija  Celmins 

Riko  MiEuno  Gallery 

December 


1^ 

Frank  J   Thoma; 


Pain  ting  in  New  York 

1944-1969 

Pasadena  Art  Museum 

November  24-January  11 

Catalog  with  text  by 

Alan  Solomon 


156 


Uilly  \l  llinnxliin 

tllliarit  IliiHrllii 

friinl#llti>il  Wrinhl 

When  Attitude  Becomes  Form 

(50  artists,  includes  Kienholz, 

Nauman) 

Kunsthalle  Bern,  Switzerland 

Spring 

Robert  Irwin  — Douglas  Wheeler 
Fort  Worth  Art  Center 
Museum,  Texas 
April  1-28 

Catalog  with  foreword  by 
Henry  T.  Hopkins,  text  by 
Jane  Livingston 
Organized  by  Fort  Worth  Art 
Center  Museum  in  cooperation 
with  Corcoran  Gallery  of  Art, 
Washington,  D.C.;  Stedelijk 
Museum,  Amsterdam 

David  Hockney 

Andre  Emmerich  Gallery, 

New  York 

April  26-May  18 

Anti-Illusion:  Procedurel 
Materials  (includes  Nauman) 
Whitney  Museum  of  American 
Art,  New  York 
May  19-June  22 

Bruce  Nauman 

Leo  Castelli  Gallery,  New  York 

May  24-June  14 


19, 


69 


1970 


Nine  Young  Artists,  Theodoron 
Awards  (includes  Nauman) 
The  Solomon  R.  Guggenheim 
Museum,  New  York 
May  24-June  29 

14  Sculptors:  The  Industrial 

Edge  (14  artists;  includes 

Alexander,  Bell,  Kauffman, 

Valentine) 

Organized  by  Walker  Art 

Center,  presented  at  Dayton's 

Auditorium.  Minneapolis, 

Minnesota 

May  29-June  21 

Catalog  with  text  by  Barbara 

Rose,  Christopher  Finch, 

Martin  Friedman 

Pop  Art  Redefined  (includes 
Herman,  Goode,  Hockney, 
Kienholz,  Ruscha) 
Hayward  Gallery,  London 
July  3-September  3 
Book  by  John  Russell,  Suzi 
Gablik;  published  by  Thames 
and  Hudson,  London 

22  California  Artists 

Phillis  Kind  Gallery,  Chicago 

Summer 

Ronald  Davis:  Eight  Paintings 

Norman  Mackenzie  Art  Gallen.', 

University  of  Saskatchewan, 

Regina 

September  12-October  19 

Catalog  with  text  by 

Terry  Fenton 

Kenneth  Price  Cups 
Whitney  Museum  of  American 
Art,  New  York 
September  19-October  26 

Human  Concern/ Personal 

Torment:  The  Grotesque  in 

American  Art  (includes 

Kienholz) 

Whitney  Museum  of  American 

Art,  New  York 

October  14- November  30 

Catalog  with  text  by 

Robert  Doty 

Three  California  Artists: 
Bengston,  Moses,  Ruscha 
Multiples  Gallery,  New  York 
October 

Richard  Diehenkorn 
Poindexter  Gallery,  New  York 
November  1-29 

Billy  Al  Bengston 
Utah  Mu.seum  of  Fine  Arts, 
Salt  Lake  City 
November  9- December  7 


Kompas  4:  West  Coast  USA 
Stedelijk  van  Abbemuseum, 
Eindhoven,  The  Netherlands 
November  21-January  4 
Catalog  with  text  by 
Jean  Leering 

Graphics:  Six  West  Coast 
Artists  (Bengston,  Goode, 
Graham,  Moses,  Price,  Ruscha) 
Galleria  Milano,  Italy 
December  10-January  7 
By  arrangement  with 
Edizioni  O 


Exhibitions  in  Los  Angeles 


Frank  J  Thomas 


Douglas  Wheeler 
Ace  Gallery 
January  2-31 

John  Cage 

Pa.sadena  Art  Museum 

January  25- March  1 


Richard  Serra 
Pasadena  Art  Museum 
January  26-March  1 
Catalog 


Craig  Kauffman 
Pasadena  Art  Museum 
January  27- March  1 
Catalog  with  statement 
by  the  artist 


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I  now  lolio  live  |«ftto  mondoy  IDUO 

'  iio  cralg  kauffman  IaIIo  bubble  gu 

no  down  lelto  |az7  lello  apoon  |el 

paaadana  ail  muaeum  lello  llv«-alar  t 

.Mnc  KiMo  plngpong  lello  fnutlin  tall 

.1  ii'iio  liny  rub  |ello  27|anuary-tm 

arch  1970  jt^ilo  cuddle  lello  lieh  lello  dirt 

.ii'ol  wool  lello  bug  lello  upaiaira  le 

■  ■n  doad  lello  mean  lello  dance  |all 

H  i(i|to  holy  cnia  lello  picture  me  latl 

ih  ,L>llo  ddi  lello  lonesorT^e  lello  lor 

>  no  blatenl  lello  woslern  lello  hop 

:  no  undone  lello  bulton-down  lello 

ic'lto  homelaaa  lello  slarlel  lello  I 

-    you  kid  lello  oralg  kautfm 

an  i.'llo  empty  letlo  Killing  jo 

■  ty  lello  asphalt  lello  opnl 

jnt.l  jelionti  i^tlnunivara 

lly  ot  cnlllornta,  Irvine 


to 


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narch  -  5  april  1970  le 


Spaces  (includes  Bell) 

The  Museum  of  Modern  Art, 

New  York 

December  30-March  1 

Bruce  Nauman 

Galerie  Ileana  Sonnabend, 

Paris 

Winter 


Frank  J   Thomas 


19 


70 


1970 


Joseph  Kosuth:  Art  as  Ideal 
Idea  as  Art 

Pasadena  Art  Museum 
January  27-March  1 

Agnes  Martin 

Nicholas  Wilder  Gallery 

January 


Sam  Francis 

Los  Angeles  County  Museum 

of  Art 

February  10- March  22 

Brochure  with  text  by  Gail  R. 

Scott 


Siuii  I TJiicis 
Rctcnt  P;iinting> 


Frank  J   Thomas 


I 


Frank  J   Thomas 


Color  (Ronald  Davis, 
Ellsworth  Kelly,  Morris  Louis, 
Kenneth  Noland,  Jules 
Olitski,  Frank  Stella) 
UCLA  Art  Galleries 
February  16- March  22 
Catalog  with  acknowledge- 
ments by  Frederick  S.  Wight, 
texts  by  Charles  Kessler, 
Jan  Burland,  Melinda 
Terbell,  Richard  N.  Janick, 
Sue  Ginsburg,  Andrea  Levin, 
Lynn  Bailess,  Carol  Donnell, 
Sister  Catherine  Bock,  Mary 
Ann  Richardson 


M 

1 

1 

^^^^^^^^^^^^^^^^^^H^'         '' '  .M^^^^^^^^^^^H^^ri^^l 

John  Baldessari 
Eugenia  Butler  Gallery 
February  17- March  7 

Michael  Todd 

UCLA  Art  Galleries 

March  9- April  5 

Catalog  with  text  by  Thomas 

H.  Garver,  and  statement  by 

the  artist 


Edward  Moses 
Riko  Mizuno  Gallery 
Spring 


Edward  Moses 


Frank  J  Thomas 


Bruce  Nauman 
Nicholas  Wilder  Gallery 
March 

Robert  Morris 
Irving  Blum  Gallery 
Spring 

Richard  Artschwager 
Eugenia  Butler  Gallery 
Spring 


DeWain  Valentine 
Pasadena  Art  Museum 
May  11-July  5 
Catalog  with  interview  by 
John  Coplans 

Andy  Warhol 

Pasadena  Art  Museum 

May  12-June  21 

Catalog  with  text  by  John 

Coplans,  Jonas  Mekas,  Calvin 

Tomkins 

TVaveled  to  Museum  of 

Contemporary  Art,  Chicago 

Dieter  Rot:  Staple  Cheese 

(A  Race) 

Eugenia  Butler  Gallery 

May 


19 


70 


1970 


JUDY      GEROWITZ 

hereby  divests  herself  of 
all  names  imposed  upon 
her  through  male  social 
dominance  and  freely 
chooses    her    own    name 

JUDY       CHICAGO 


Robert  Rauschenberg 
Pasadena  Art  Museum 
July  7-September  6 

Barnett  Newman 
Pasadena  Art  Museum 
July  30- August  30 


David  Hockney 
Nicholas  Wilder  Gallery 
September 

Max  Cole 
Comara  Gallery 
October  5-24 


dAI'J.-' 


f>^     ContTn-P'R""""^ 


s^^^^^' 


Frank  J  Thomas 


UOY  CHICAtia  [ilvtHlion.  Cal  Sm»  tuUtrtuK    0(1    2)    N<n   2S 
PrMiM  6    8  PM.  Oct-  U.  FwitNr  Pub.  Ol  Suit  TgHMM 


Judy  Chicago 

California  State  University, 

FuUerton 

October  23- November  25 

Keith  Sonnier 
Ace  Gallery 

Fall 

Richard  Jackson 
Eugenia  Butler  Gallery 
Fall 

Joe  Goode 

Nicholas  Wilder  Gallery 

November  17-December  5 


SolLeWitl 

Pasadena  Art  Museum 

November  17-January  3 

Catalog 

The  Cubist  Epoch 

Los  Angeles  County  Museum 

of  Art 

December  17-February  21 

Catalog  with  text  by  Douglas 

Cooper 

Traveled  to  The  Metropolitan 

Museum  of  Art,  New  York 


19 


70 


1970 


Exhibitions  outside 
of  Los  Angeles 

11  +  11  Tableaux  (Kienholz) 
Moderna  Museet,  Stockholm 
January  17- March  1 
Catalog  with  comments  from 
interviews  with  K.  G  Pontus 
Hulten 

Traveled  to  Stedelijk  Museum, 
Amsterdam;  Stadtische  Kunst- 
halle,  Diisseldorf;  Musee  d'Art 
Moderne,  Paris;  Kunsthaus 
Zurich,  Switzerland;  Institute 
of  Contemporary  Arts,  London 


EDWARD  KIENHOLZ 


IMl  TABLEAUX 


MODERNA  MUSEET 


Pace  Gallery,  NY 


Looking  West  1970  (74  artists) 

Joslyn  Art  Museum,  Omaha, 

Nebraska 

October  18- November  29 

Catalog  with  introduction  by 

LeRoy  Butler 


Robert  Irwin 

The  Museum  of  Modern  Art, 

New  York 

October  24- February  16 

A  Decade  of  California  Color 

(13  artists) 

Pace  Gallery,  New  York 

November  7- December  2 

Brochure 


In  addition  to  the  photogra- 
phers whose  images  are  cred- 
ited, many  individuals  and 
institutions  lent  me  visual 
materials  for  the  chronology.  I 
am  grateful  for  the  coopera- 
tion of  Irving  Blum,  Virginia 
Dwan,  The  Frederick  S.  Wight 
Art  Gallery  of  UCLA,  Otis 
Art  Institute  of  Parsons  School 
of  Design,  Norton  Simon 
Museum,  Pomona  College  Art 
Galleries,  Art  forum,  and 
many  of  the  artists  cited,  who 
generously  shared  their  re- 
sources. The  Museum's  Pho- 
tography Department  was 
responsible  for  photographing 
all  of  the  posters  and  gallery 

announcements. 

S.P. 


Craig  Kauffman 

Pace  Gallery,  New  York 

March  21- April  8 

Joe  Goode 

Galerie  Neuendorf,  Hamburg, 

West  Germany 

-April  20 

Belli  Irwin  I  Wheeler 
Tate  Gallery,  London 
May  5-31 

David  Hockney,  Katalog  31 
1970 

Kestner-Gesellschaft,  Han- 
nover, 

West  Germany 
May  22-June  21 


Edward  Ruscha 

Nigel  Greenwood,  London 

Winter 


160 


Jerry  McMiUen 


Photographic  Credits 

Archives  of  American  Art: 
p.  83  (lowerl. 

Art  in  America:  p.  32. 

Larry  Bell:  p.  54  (upper  and  lower). 

Billy  Al  Bengston:  pp.  57  (left), 
76,  86  (upper). 

Charles  Brittin:  pp.  12  (left  and 
right),  13  (left  and  righti.BO. 

The  Brooklyn  Museum.  New  York: 
p.  68  (lowerl. 

Rudolph  Burckhardt:  p.  90. 
Giorgio  Colombo  Fotografo:  p.  49. 

Ralph  Crane,  Life  Magazine,  © 
1966  Time  Inc.:  p.  80  (lower). 

Prudence  Cuming  Associates 
Ltd.:  p.  26  (right),  75. 

Dartmouth  College  Museum  and 
Galleries,  Hanover,  New  Hamp- 
shire: p.  96  (right). 

Michael  Denny:  p.  58  (left). 

Susan  Einstein:  p.  78. 

Pat  Faure:  p.  77. 

Sam  Francis:  pp.  69  (upper),  70. 

Betty  Freeman:  p.  73  (lower  left). 

Gilman  Paper  Company:  p.  91. 

Joe  Goode:  p.  71  (lower). 

Gianfranco  Gorgont:  p.  89  (left). 

Richard  M.  Grant:  p.  66  (lower). 

Graves  Art  Gallery,  Sheffield, 
England:  p.  27  (middle  left). 
Dennis  Hopper:  pp.  57  (right),  63 
(middle).  95  (upper). 
Janss  Foundation:  p.  27 
(middle  right). 

Robert  Jaye:  p.  63  (upper  and  lower). 
John  Kasmin:  p.  73  (upper  left). 
Edward  Kienholz:  p.  80 (upper). 

Mr.  and  Mrs.  Gilbert  H.  Kinney: 

p.  68  (upper). 

M.  Knoedler  &  Co.  Ltd.,  London:  p.  43. 

Los  Angeles  County  Museum  of 

Art:  pp.  14  (left  and  right),  15 

(right),  27  (upper  left  and  right), 

31,  37,  38,  39,  40,  42,  45,  47,  48, 

50,  51,  55  (right),  56,  58  (right), 

59,  61,  62  ( upper  and  lower),  67, 

72,  73  ( upper  and  lower  right), 

74,  75  (lower),  79  (upper  and 

lower),  81,  82,  84,  85  (upper),  87 

(left  and  right),  93,  94  (left  and 

right),  97,  100. 

Margo  Leavin  Gallery.  Los 

Angeles:  p.  44. 

Frances  and  Sydney  Lewis: 
p.  96  (left). 

Colin  McRae:  p.  41. 

Museum  of  Fine  Arts,  Boston: 
p.  26  (left). 

The  Museum  of  Modern  Art,  New 
York:  p.  46. 

The  Oakland  Museum,  California: 
p.  99  (left). 
Kenneth  Price:  p.  92. 
Robert  Rowan:  p.  85  (lower). 
Edward  Ruscha:  p.  95  (lower). 

The  Santa  Barbara  Museum  of 
Art,  California:  p.  99  (right). 

EricSchaal:  p.  15  (left). 
David  Stuart  Galleries.  Los 
Angeles:  p.  98. 

Frank  J  Thomas:  pp.  30,  52,  55 
(left),  64,  65  (upper  and  lower), 
69  (lower),  88,  89  (right). 

John  Waggaman:  pp.  66  ( upper), 
83  (upper),  86  (upper). 

Walker  Art  Center,  Minneapolis. 
Minnesota:  pp.  27  (lower),  33. 


Board  of  Supervisors,  County  of  Los  Angeles,  1981 

Edmund  D.  Edelman,  Chairman 

Michael  D.  Antonovich 

Deane  Dana 

Kenneth  Hahn 

Peter  F.  Schabarum 

Harry  L.  Hufford,  Chief  Administrative  Officer 


Los  Angeles  County  Museum  of  Art 


Board  of  Trustees,  Fiscal  1980-81 

Richard  E.  Sherwood,  Chairman 
Mrs.  F.  Daniel  Frost,  President 
Charles  E.  Ducommun,  Vice  President 
Hoyt  B.  Leisure,  Vice  President 
Daniel  H.  Ridder,  Treasurer 
Mrs.  Anna  Bing  Arnold,  Secretary 
Donald  Spuehler,  Counsel 


Mrs.  Howard  Ahmanson 

William  H.  Ahmanson 

Robert  O.  Anderson 

R.  Stanton  Avery 

Norman  Barker,  Jr 

Daniel  N.  Belin 

Mrs.  Lionel  Bell 

Michael  Blankfort 

Sidney  F.  Brody 

B.  Gerald  Cantor 

Edward  W.  Carter 

Herbert  R.  Cole 

Justin  Dart 

Joseph  P.  Downer 

Richard  J.  Flamson  III 

Julian  Ganz,  Jr 

Arthur  Gilbert 

Dr  Armand  Hammer 

Christian  Humann 

Felix  Juda 

Earl  A.  Powell  III,  Director 

Kenneth  Donahue,  Director  Emeritus 

Morton  J.  Golden,  Deputy  Director-Administrator 


Harry  Lenart 

Eric  Lidow 

Dr  Franklin  D.  Murphy 

Mrs.  Edwin  W.  Pauley 

Henry  C.  Rogers 

Ray  Stark 

Hal  B.  Wallis 

Mrs.  Herman  Weiner 

Frederick  R.  Weisman 

Mrs.  Harry  W.  Wetzel 

Dr  Charles  Z.  Wilson,  Jr 

Robert  Wilson 

Honorary  Life  Trustees 
Mrs.  Freeman  Gates 
Mrs.  Alice  Heeramaneck 
Joseph  B.  Koepfli 
Mrs.  Rudolph  Liebig 
Mrs.  Lucille  Ellis  Simon 
John  Walker 


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